The comparison of Thomas Aquinas’ Summa Theologiae with the architecture of a cathedral is not new. We find it in 1850 in Karl Werner’s System der christlichen Ethik (1850, 47), and in 1860 the German architect Gottfried Semper writes in the preface to his two-volume manual Style in the Technical and Tectonic Arts: art... appears isolated and relegated to a field especially marked out for it. The opposite was true in antiquity, where philosophy held sway over this field as well. (...) Philosophy was seen as an artist herself and a guide to the other arts. But in growing old, she turned to analysis and devised dead categories instead of living analogies. In just the same way, Gothic architecture was the.. (shrink)

Cyberpunk fiction has been called “the supreme literary expression, if not of postmodernism then of late capitalism itself.” This thesis aims to analyse and question this claim by rethinking cyberpunk Action, postmodernism and late capitalism in terms of three - interlocking - themes: cybernetics, the Gothic and fiction. It claims that while what has been called “postmodernism” has been preoccupied with cybernetic themes, cybernetics has been haunted by the Gothic. The Gothic has always enjoyed a peculiarly intimate (...) relation with the fictional. Baudrillard's theories, meanwhile, suggest that, in a period dominated by simulation, fiction has a new cultural role. By putting “theory” into dialogue with “fiction”, the thesis examines Baudrillard's suggestion that the era of cybernetics “puts an end to science fiction, but also to theory, as specific genres”. The version of the Gothic the thesis presents is one stripped of many of its conventional cultural associations; it is a material Gothic.The machinery for re-thinking the Gothic comes from Deleuze-Guattari’s A Thousand Plateaus. Deriving not from the familiar literary sources but from Wilhelm Worringer’s work on “barbarian art”, Deleuze-Guattari’s version of the Gothic departs from any reference to the supernatural. The crucial theme in Worringer, Deleuze-Guattari establish, is that of nonorganic continuum. Following Deleuze-Guattari’s lead, the thesis analyses key cyberpunk texts such as Ridley Scott’s Blade Runner, David Cronenberg’s Videodrome and William Gibson’s Neuromancer in terms of what it calls this “hypematuralist” theme. While these texts have often been analysed in terms of “postmodernism” and “cyberpunk,” they have rarely been discussed in terms of the Gothic. Here, though, it will be shown that these texts, and important precursors, such as Ballard’s The Atrocity Exhibition, are centrally concerned with the breakdown of the boundary between the animate and the inanimate.. The thesis aims to demonstrate that, in its fixation upon catatonic trance, bodies that do not end at the skin, and agency-without-subjectivity, cyberpunk or “imploded science fiction” converges the Gothic with cybernetics on what, following Gibson, it calls the flatline. The flatline has two important senses, referring to a stale of “unlife” and a condition of radical immanence. The thesis is divided into four chapters, each of which considers the flatline under a different aspect. Chapter 1 concerns the flatlining of cybernetics and postmodernism; Chapter 2 deals with the flatlining of the body, paying particular attention to the Deleuze-Guattari/Artaud concept of the Body without Organs; Chapter 3 focuses upon the flatlining of reproduction, opposing both sexual and mechanical reproduction to Deleuze-Guattari’s idea of propagation; Chapter 4 considers the flatlining of fiction itself in the context of hyperreality. (shrink)

In all the Alien films, the environments are gloomy settings originally inspired by Gothic architecture, but it's the creature design, which leaves the most profound mark on us. The interaction between these art‐horror monsters and the sterileturned‐ grotesque environments of the Alien films can produce disgust or revulsion in the viewer. In Alien a fair amount of time is spent on the relationships between the crew members. One of the most horrific moments of the series is the cry of (...) “kill me” that emerges from the half‐conscious hosts as the space Marines explore the former colony of Hadley's Hope. Central to Carroll's theory on art‐horror is revulsion at the suggestion of physical contact with the fusion‐figures. At the end of Alien: Resurrection, Ripley lies in the middle of the Queen's huge mass. It is the most striking image in an otherwise cartoonish film. (shrink)

The paper gives insight into the revaluation of popular Gothic aesthetics in Jim Jarmusch’s 2014 production Only Lovers Left Alive. Drawing on critical theory and the postmodern theoretical framework, the article suggests that the film transgresses contemporary culture immersed in a “culture of death” that has produced a vast amount of cultural texts under the rubric of “Gothicism.” By considering Jean Baudrillard’s concept of transaesthetics and Judith Halberstam’s writings on contemporary monstrosity, the paper shows that a commodified Gothic (...) mode has lost its older deconstructive functions that operated on the margins of the mainstream. Now entirely focused on the duplication of the same aesthetic codes and signs, Gothic productions conform to the rules of postindustrial culture, enriching entertainment imagery with the neutralized concept of “otherness.” Hence, the article engages primarily with Jarmusch’s indie aesthetics that goes beyond easily recognizable patterns and generic conventions and allows the director to emphasize that the arts are rejuvenating forces, the antidote to a commoditized environment. Then, the focus is on the construction of main characters—Adam and Eve, ageless vampires and spouses—who thanks to nostalgic theatricality and performance reconfigure the mainstream monstrosity. Ultimately, the article emphasizes that Jarmusch’s film, to a large extent, becomes a warning against the inevitable results of advanced capitalism practiced on a global scale. (shrink)

"Ruskin was the most important aesthetic authority of the 19th century. In his dozens of books and lectures he wrote about the qualities of art. the key figure, the history that connected one to another. In The Stones of Venice, Modern Painters, Seven Lamps of Architecture he developed rules and standards that are amazingly contemporary in their range of sympathies. However, Ruskin wrote thousands of pages of criticism; for the modern reader his thought needs always to be rediscovered. This anthology (...) by Robert Herbert contains the essential thought of Ruskin on theory and practice (creativity, color, compositio, exhibiting workd of art), ("the nature of gothic," Venetian Renaissance, iron and glass as new materials for building), and sculpture and ornament (Greek, Byzantine, Medieval, and Renaissance). Herbert devotes his section on painting to Ruskin's remarks on Giotto, Fra Angelico, Botticelli, Michelangelo, the Venetians, Turner, the Pre-Raphaelites, and many others. Ruskin was full of contradictions and quirks, but he is the one 19th-century critic who gave the 20th century many of its most progressive thoughts on architecture, painting, and relationship of art to a social and moral context."--BOOK COVER. (shrink)

Summary Historical scholars have recently turned their attention to local communities, resulting in a lively debate about the role of regions and provinces in Western Europe. This has quite predictably led many to question this resurgence of local identities in order to discover the cultural roots and the geographical boundaries of these identities and their interaction with the formation of nation-states in the literary, artistic and political practices of the past two centuries. This article provides an introduction to one specific (...) transnational intellectual network, the Guild of Saint Thomas and Saint Luke, which in the latter half of the nineteenth century served as a forum for the different local identities which were influential in the Gothic (and Catholic) Revival of the Low Countries. The interaction among the most influential members during the annual excursions of the Guild and the choice for the locations of these meetings resulted in different ideological discourses about the position and the borders of ‘Christian art’ in the Low Countries. Due to both internal and external influences these discourses very soon integrated into the national frame, making the definition of a potentially common style for the whole area impossible. The analysis is based on existing literature on regionalism and the Neo-Gothic Revival, and on archive material concerning the first meetings of the Guild. The above-mentioned observations offer the opportunity to underline the peculiarity of transnational permanent networks composed by a fluctuating number of participants and to stimulate debate about the applicability of this example to other geo-cultural contexts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"An Option for Art But Not an Option for Life":Beauty as an Educational ImperativeJoe Winston (bio)IntroductionIn a recent meeting of the academic staff in the university department where I work, we were asked to state our current research interests. Responses progressed around the circle and everyone listened quietly and respectfully until I stated that my interest was beauty, to which there was general laughter—complicit, not derisory, as if everyone (...) laughing presumed it was a joke. In the same week, I heard a story from a colleague who works in another institution. She had been interviewing a prospective female candidate for their postgraduate teacher training course with a deputy principal from a local school. When it came to a decision, the latter had not been in favor of offering the young woman a place; she was "too beautiful," she thought, to the extent that she would "be a distraction" in the classroom.I offer these stories as illustrative of a fact little discussed—that beauty is a problem in educational discourse, seen as either wildly irrelevant or discordant with the job of teaching. Yet it was not always the case. Beauty has in the past been understood as one of the highest aims of education. For Schiller, it fulfilled a core human need, and he wrote in the second of his Letters on the Aesthetic Education of Man that "it is only through Beauty that man makes his way to Freedom."1 Matthew Arnold argued that it was in beauty that the "human race finds its ideal."2 Emerson saw beauty as "the form under which the intellect likes to study the world,"3 and Iris Murdoch argued that it should be at the base of any education in the virtues, citing Plato's argument that beauty is the one spiritual quality that we love by instinct.4 These figures could hardly be described as philosophical lightweights, yet their sentiments and the complex arguments through which they expressed [End Page 71] them have for years been neglected; only recently has this begun to change. Elaine Scarry, in particular, has written an influential book on the topic, taking up the argument of Iris Murdoch and developing a strong case for the educational power of beauty, allying it strikingly with an education in social justice.5 Two recent articles in this journal have also heralded a re-evaluation of beauty as a concept of profound significance for both the arts and education. Stuart Richmond sees in the development of our capacities to create and appreciate beauty "a way to bring us back into contact with what is sensual and intrinsically worthwhile,"6 and Howard Cannatella argues passionately "that something of the indelible quality of poiesis and delight in beauty should be the focus of specific educational concern, a factor at its core."7This article is an attempt to add further substance to the claim that-beauty should be one of our core educational values. In doing so, it develops the ideas that connect these perspectives: that beauty's power is instinctive, that it delights, that it is of deep human value. As do Murdoch and Scarry in their different ways, I will argue that beauty is powerfully formative and intrinsically associated with virtue, an idea developed in the final section of the article. First, however, I wish to consider what happened to beauty and why it became a neglected concept not only in education but also in the arts.What Happened to Beauty?Language and world refer to each other and presuppose each other for their mutual intelligibility. In this count, human learning becomes the process of aligning language and world.8In considering beauty, we begin inevitably with the word itself and with its usage. Like all evaluative concepts captured through language, beauty is a historical and cultural entity and, as such, it has both gathered and discarded meanings with the passage of time. Consequently, its nature is elusive and open to revision and debate. Is it characterized by perfect harmony and balance, as the classical world would have it, or by the soaring solidity of a medieval Gothic cathedral? Do we associate it with goodness... (shrink)

In 2008, renowned Australian composer Peter Sculthorpe remarked that almost everything he has written since the early 1960s has been influenced by Indigenous music “because that was a music … shaped by the landscape over 50,000 years.” 3 His preference for accumulating “an effect of relentless prolongation” through the use of long drones has seen his music fail, until recently, to appeal to an Australian ear attuned to Bach and Mozart. 4 His aim, however, has not been to satisfy the (...) European-trained ear, but to “mirror the Australian outback”; to capture a sense of time and space that many Australians have repeatedly failed to access. 5 Sculthorpe‟s efforts to form connections with the landscape are by no means singular; representations of the bush have dominated the arts from early settlement, albeit in a largely negative fashion. The contradiction between an accepted Australian vision of the landscape as empty, unwelcoming bush or desert, and the social reality of a nation living mainly in coastal communities has not gone unnoticed. 6 Nevertheless, contemplating this “accepted vision” alongside the lukewarm reception of Sculthorpe‟s work gives rise to the following question: what conclusions, if any, may be drawn from insistently negative representations of the landscape? In consideration of this question, I propose an analysis of two texts in which the representations of landscape have been overlooked in favour of feminist or classical readings: Barbara Baynton‟s Bush Studies and Joan Lindsay‟s Picnic at Hanging Rock. If “landscape is personal and tribal history made visible,” what is one to make of Bush Studies? 7 The parallels between Baynton‟s narratives of isolation and her own experiences cannot fully account for her portrayals of the bush as “a lonely, hostile place, antagonistic to its inhabitants,” where time recedes into the vast distances of the plains, and the past and future are uncertain. 8 Baynton‟s settlers, cut adrift from cultural and religious traditions, fail to form communities and conform to the notion that “where si gnificant tradition counts for little, places may be virtually without time,” leading to “no awareness of history.” 9 In short, Baynton‟s settlers are plagued with a sense of timelessness that appears to originate from perception, rather than the environment. (shrink)

From Plato to Postmodernism presents the cultural history of the West in one concise volume. Nearly four thousand years of Western history are woven together into an unfolding story in which we see how movements and individuals contributed to the philosophy, literature and art that have shaped today's world. The story begins with the West's Greco-Roman and Judeo-Christian origins, moving through the Middle Ages, Renaissance, Enlightenment and Romanticism to twenty-first century postmodernity. The author covers key figures such as Moses, Michelangelo, (...) Mozart and Marx, setting them in context and highlighting their main contributions. Illustrations and a comprehensive glossary help explain important terms such as ‘gothic', ‘baroque', ‘stream of consciousness' and ‘the death of God', and clarify movements such as Neoplatonism, Renaissance humanism and existentialism. -/- For students, this book bridges the gap between what is taught in schools and the cultural knowledge required at university, providing an indispensible grounding in the story of Western culture. For all readers, it offers an invitation to take an enjoyable tour through the fascinating history of Western thought, literature and art. (shrink)

The Summa predicantium compiled in the second quarter of the fourteenth century by the English Dominican John Bromyard (d. ca. 1352), has a number of things to say about invention in art or archite...

Because of their basic level, textbooks show the assumptions and biases of art historians more clearly than does advanced, and therefore more restricted, scholarship. Textbooks are the rock, as it were, within which lie the strata of historical method. They bury, and so preserve for the good and ill of students , not so much individual historical data, which can be picked up or rejected rather easily, as those things which give the appearance of intellectual grasp to historical writing: its (...) generalizations, its interpretations, its sweeping perspectives. The successive editions of Helen Gardner's Art through the Ages can tell us much about the assumptions that have pervaded art historical education in America over the past century. The first edition, published fifty years ago last year, is worth looking at in some detail, because for all its seminal importance in the teaching of art history it is by now little more than a deposit in library stacks. A mere glance will show that it is not ours. Indeed, the distance we have gone since then is exactly measured by the gaucheries it displays. It is half the length of modern surveys, and it makes no pretense either to completeness or to objectivity. It is arranged by period and style until we reach the Renaissance , at which point, in keeping with the interest of an earlier age in national characteristics, each country receives its due chapter. The Italian Renaissance, as befits the central position of the primitives in American taste then, has four chapters to itself. Thereafter, except for a final, brief section on contemporary art, each national school is taken to the period of its decline. This, of course, will vary. France is taken through Cézanne; England through the Pre-Raphaelites and William Morris; Spain, thanks to Goya, into the early nineteenth century; and Dutch and Flemish art only through the seventeenth century, but without Bosch or Bruegel. As for Germany, though the chapter heading promises us "From the Gothic Age to the Nineteenth Century," in fact it is on Durer and Holbein. What fulfills the promise of the title appears in its entirety thus: "After the death of these two masters, largely on account of exhaustion from wars there was very little production, until the second great manifestation of the German people came in the music of the eighteenth and nineteenth centuries."1 No pretense here at dutiful compilation; high points, after all, are high points. · 1. Helen Gardner, Art through the Ages: An Introduction to Its History and Significance , p. 345. Marcel Franciscono is the author of Walter Gropius and the Creation of the Bauhaus in Weimar. He is associate professor of art history at the University of Illinois at Urbana-Champaign. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:164 BOOK REVIEWS "was presented with wine in the name of the whole University." That evening, one of the feasters recalled that this was the man who had written the foremost theological defense of the Royal Supremacy: the following morning, when Gardiner asked for vessels and vestments to say Mass before proceeding on his way, they were refused him, as to an excommunicate or a schismatic. This incident is (...) significant for a number of reasons: it shows that, whatever anyone else might have thought, Gardiner certainly thought he was a Catholic. The ambiguity of that label, and how far exactly it extended, is also quite evident. Some explanation of the difficulty and some consistency of usage in the text of the biography would have been welcome. The text itself appears to have a number of editorial flaws: p. 201 begins in the middle of a paragraph, and the opening lines are omitted. In the second paragraph of p. 176, numbers are transposed so that what is printed as 1534 should read 1543 (in the context, a significant difference). The book is, on the whole, a contribution to scholarship that is long overdue. That a man who was so powerful (not to say feared) during his own lifetime should wallow in oblivion is confusing. Redworth 's biography, for all its incompleteness, is of great value in piecing together the life of this leader, both political and ecclesiastical, who sought to fashion the emerging English Church and nation into a recognizably Catholic form. Dominican House of Studie$ Washington, D.C. W. BECKET SOULE, 0.P. Art and the Word of God (Arte e la Parola di Dio): A Study of Angelico Rinaldo Zarlenga, O.P. Edited by VINCENT I. ZARLENGA, O.P. (text in English and Italian). River Forest, Illinois: Fra Angelico Art Foundation, 1990. Pp. xiv + 109. The religious order of the Dominicans (Order of Preachers) was founded in the thirteenth century by St. Dominic with the specific purpose of preaching the Gospel or " ministry of the Word." With the Franciscan Order it shared in the creative, artistic impulse that produced the medieval cathedrals. It is often said that the great Summa Theologiae of St. Thomas Aquinas, for all its intellectual rigor, is also a work of art comparable to the gothic masterpiece of Chartres cathedral. Dominicans and Franciscans thought that the Gospel should find expression not only in words, but in poetry, music, architecture, and BOOK REVIEWS 165 the plastic arts. Among the artists who were members of the Dominican Order are the recently beatified Fra Angelico (BL Giovanni da Fiesole ), Bartolommeo della Porta, an important influence on Raphael and other High Renaissance painters, Juan Mayno the gifted Spanish contemporary of El Greco, Pere Couturier, the advocate of modern church art and friend of Matisse, and the American sculptor, Thomas McGlynn. Carrying on this Dominican tradition, Angelico Rinaldo Zarlenga (1919-1986), a native of Italy, worked in the United States from 1949 until his death. The present work, edited by his brother Vincent, also a member of the Order, makes available a chronological catalogue of his paintings, sculptures, and designs in glass, with many illustrations in full color, along with a biography and critical appreciations by others, including Cardinals Joseph Bernadin and Mario Luigi Ciappi. It is an important contribution to the history of Catholic religious art in the United States. The noted German theologian Hans Urs von Balthasar built his whole theology not on the goodness and truth of God, but on His beauty, or in biblical terms, God's "glory." According to St. Thomas Aquinas, " beauty " is the " radiance of truth," that is, it is truth as truth is related well to our knowing powers. Like the fit between the key and the lock, beauty is the fit between known and the knower. That is why a landscape on a cloudy day looks dull and uninteresting, but when the sun comes out it appears strikingly beautiful. The sun's illumination has made the dim objects vividly visible, radiant to our eyes. This is what the artist does for us. He does not clothe the facts of reality with an adventitious beauty, but he illumines those facts so that... (shrink)

MANY, PERHAPS MOST OF US, tend to connect art with the past. Faced with the art of our own time we become unsure: everything important seems to have been done, the vocabulary of art exhausted, and attempts to develop new vocabularies more interesting than convincing. Ours tends to be an autumnal view of art. The association of art and museum has come to replace such older associations as art and church, or art and palace. As we know it, the museum (...) is a comparatively recent institution, emerging only in the first half of the nineteenth century, thus lagging somewhat behind such related phenomena, as e.g., archeology, art-history, and neo-gothic architecture, all expressions of a museal [[sic]] attitude extending far beyond art to religion and even to nature. Consider the significance of setting aside a certain part of nature as a national monument. Monuments serve to commemorate, most often the dead. What do such natural monuments commemorate? Perhaps nature herself? But does nature need commemorating? Does it, too, lie behind us? Will future generations know nature only in the form of natural monuments? We do indeed live in an age which increasingly forces us to question whether nature still has a place in the modern world, whether it is not rather a relic from the past. By trying to preserve nature in specially created parks or monuments we show that this loss, although perhaps inevitable, is nevertheless felt to be serious. (shrink)

This article begins with a review of studies in perception and depth psychology concerning the experience of exposure to sacred artworks in Roman Catholic and Eastern Orthodox contexts. This follows with the results of a qualitative inquiry involving 45 Roman Catholic, Eastern and Coptic Orthodox, and Protestant Christians in Canada. First, participants composed narratives detailing memories of spiritual experiences involving iconography. Then, in the context of a darkened room evocative of a sacred space, they viewed artworks depicting Biblical themes and (...) interpreted their meanings. Stimuli included “Western” paintings from the Roman tradition—a selection from the Gothic, Northern Renaissance, and Renaissance canon—and matched “Eastern” icons in the Byzantine style. Spiritual experience narratives were analyzed in terms of word frequencies, and interpretations of sacred artworks were analyzed thematically. Catholics tended to utilize emotional language when recalling their spiritual experiences, while religious activity was most often the concern of Protestants, and Orthodox Christians wrote most about spiritual figures and their signifiers. A taxonomy of response styles was developed to account for participants’ interpretations of Western and Eastern artworks, with content ranging from detached descriptions to projective engagement with the art-objects. Our approach allows for representation of diverse Christians’ interpretations of sacred art, taking into consideration personal, collective, and cultural-religious sources of meaning. Our paradigm also offers to enrich our understanding of the numinous or emotional dimension of mystical contact. (shrink)

This article presents the recent literature about Cathedral of See considered from the History of Arts perspective in São Paulo. After highlight some functional, stylistic and historical data about the building idealized by Brazilian Archbishop Dom Duarte Leopoldo e Silva and designed by German engineer Maximilian Emil Hehl , will be highlighted the most important artistic aspects of architecture and Works of Art gathered in the paulist sacred buildings. The article also highlights the Cathedral in its connection with the history (...) of the city and the Archdiocese of São Paulo. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

The Consolations of Philosophy by Boethius, whose English translators include King Alfred, Geoffrey Chaucer, and Queen Elizabeth I, ranks among the most remarkable books to be written by a prisoner awaiting the execution of a tyrannical death sentence. Its interpretation is bound up with his other writings on mathematics and music, on Aristotelian and propositional logic, and on central themes of Christian dogma. -/- Chadwick begins by tracing the career of Boethius, a Roman rising to high office under the (...) class='Hi'>Gothic King Theoderic the Great, and suggests that his death may be seen as a cruel by-product of Byzantine ambitions to restore Roman imperial rule after its elimination in the West in AD 476. Subsequent chapters examine in detail his educational programme in the liberal arts designed to avert a threatened collapse of culture and his ambition to translate into Latin everything he could find on Plato and Aristotle. -/- Boethius has been called `last of the Romans, first of the scholastics'. This book is the first major study in English of a writer who was of critical importance in the history of thought. (shrink)

This article presents the recent literature about the church Nossa Senhora da Consolação, considered through the prism of the study of sacred art. After a historical overview about the neighborhood and the ancient temple of Consolation, will be highlighted some most relevant artistic aspects of architecture and works of art gathered in the sacred building, designed by German engineer Maximilian Emil Hehl, whose inspiration reports to the formal and stylistic features of Romanesque architecture as well as the influences of eclecticism (...) with a predominance of Romanesque Revival architecture and Gothic Revival in São Paulo in the early twentieth century. (shrink)

Women in Rock, Women in Romanticism is the first book-length work to explore the interrelationships between contemporary female musicians and eighteenth- and nineteenth-century art, music, and literature by women and men. The music and videos of contemporary musicians including Erykah Badu, Beyoncé, The Carters, Hélène Cixous, Missy Elliot, the Indigo Girls, Janet Jackson, Janis Joplin (and Big Brother and the Holding Company), Natalie Merchant, Joni Mitchell, Janelle Monáe, Alanis Morrisette, Siouxsie Sioux, Patti Smith, St. Vincent (Annie Clark), and Alice Walker (...) are explored through the lenses of pastoral and Afropresentism, Gothic, female Gothic, and the literature of William Blake, Beethoven, Arthur Schopenhauer, Samuel Taylor Coleridge, Charlotte Dacre, Ralph Waldo Emerson, E.T.A. Hoffmann, Ann Radcliffe, William Shakespeare, Mary Shelley, her husband Percy Shelley, Henry David Thoreau, Horace Walpole, Jane Williams, Mary Wollstonecraft, and William Wordsworth to explore how each sheds light on the other, and how women have appropriated, responded to, and been inspired by the work of authors from previous centuries. (shrink)

In the beginning was the night. All light, shapes, language, and subjective consciousness, as well as the world and art depicting them, emerged from this formless chaos. In fantasy, we seek to return to this original darkness. Particularly in literature, visual representations, and film, the night resiliently resurfaces from the margins of the knowable, acting as a stage and state of mind in which exceptional perceptions, discoveries, and decisions play out. Elisabeth Bronfen investigates the nocturnal spaces in which extraordinary events (...) unfold, and casts a critical eye into the darkness that enables the irrational exploration of desire, transformation, ecstasy, transgression, spiritual illumination, and moral choice. She begins with an analysis of classical myths depicting the creation of the world and then moves through night scenes in Shakespeare and Milton, Gothic novels and novellas, Hegel's romantic philosophy, and Freud's psychoanalysis. Bronfen also demonstrates how modern works of literature and film, particularly film noir, can convey that piece of night the modern subject carries within. From Mozart's "Queen of the Night" to Virginia Woolf 's oscillation between day and night, life and death, and chaos and aesthetic form, Bronfen renders something visible, conceivable, and comprehensible from the dark realms of the unknown. (shrink)

In the beginning was the night. All light, shapes, language, and subjective consciousness, as well as the world and art depicting them, emerged from this formless chaos. In fantasy, we seek to return to this original darkness. Particularly in literature, visual representations, and film, the night resiliently resurfaces from the margins of the knowable, acting as a stage and state of mind in which exceptional perceptions, discoveries, and decisions play out. Elisabeth Bronfen investigates the nocturnal spaces in which extraordinary events (...) unfold, and casts a critical eye into the darkness that enables the irrational exploration of desire, transformation, ecstasy, transgression, spiritual illumination, and moral choice. She begins with an analysis of classical myths depicting the creation of the world and then moves through night scenes in Shakespeare and Milton, Gothic novels and novellas, Hegel's romantic philosophy, and Freud's psychoanalysis. Bronfen also demonstrates how modern works of literature and film, particularly film noir, can convey that piece of night the modern subject carries within. From Mozart's "Queen of the Night" to Virginia Woolf 's oscillation between day and night, life and death, and chaos and aesthetic form, Bronfen renders something visible, conceivable, and comprehensible from the dark realms of the unknown. (shrink)

'Pain and pleasure are simple ideas, incapable of definition.'In 1757 the 27-year-old Edmund Burke argued that our aesthetic responses are experienced as pure emotional arousal, unencumbered by intellectual considerations. In so doing he overturned the Platonic tradition in aesthetics that had prevailed from antiquity until the eighteenth century, and replaced metaphysics with psychology and even physiology as the basis for the subject. Burke's theory of beauty encompasses the female form, nature, art, and poetry, and he analyses our delight in sublime (...) effects that thrill and excite us. His revolution in method continues to have repercussions in the aesthetic theories of today, and his revolution in sensibility has paved the way for literary and artistic movements from the Gothic novel through Romanticism, twentieth-century painting, and beyond. In this new edition Paul Guyer conducts the reader through Burke's Enquiry, focusing on its place in the history of aesthetics and highlighting its innovations, as well as its influence on many subsequent authors from Kant and Schiller to Ruskin and Nietzsche. (shrink)

Objections arise to the concept of artistic intention based upon the psychology of a period. Here too we experience trends or volitions which can only be explained by precisely those artistic creations which in their own turn demand an explanation on the basis of these trends and volitions. Thus "Gothic" man or the "primitive" from whose alleged existence we wish to explain a particular artistic product is in truth the hypostatized impression which has been culled from the works of (...) art themselves. Or it is a question of intentions and evaluations which have become conscious as they find their formulation in the contemporary theory of art or in contemporary art criticism. Thus these formulations, just like the individual theoretical statements of the artists themselves, can once more only be phenomena parallel to the artistic products of the epoch; they cannot already contain their interpretation. Here again this parallel phenomenon would, in its entirety, represent an extraordinarily interesting object of humanistic investigation, but it would be incapable of defining in detail a methodologically comprehensible volition. So, too, the view of art which accompanies a period's artistic output can express the artistic volition of the period in itself but cannot put a name to it for us. This view can be of eminent significance when we are seeking a logical explanation for the perception of tendencies dominating at a given time and thus also for the judgment of artistic volition at that time, which must also be interpreted.Erwin Panofsky, the renowned art historian, was professor at the Institute for Advanced Study, Princeton University, until his death in 1968. Among his many books and articles are Meaning in the Visual Arts, Early Netherlandish Painting, and Renaissance and Renascenes in Western Art. Kenneth Northcott is professor of German and comparative literature at the University of Chicago and the translator of Arnold Hauser's Sociology of Art . Joel Snyder is chairman of the committee on general studies in the humanities at the University of Chicago. (shrink)

“[I]t is the belief men betray, and not that which they parade which has to be studied.” This short Peircean sentence has been the subject of important yet underrated attention in the reception of Peirce’s philosophy, passing through the art historians Edgar Wind and Erwin Panofsky and arriving finally at Bourdieu. This paper explores the affinities between Peirce’s and Panofksy’s thinking, as well as their historical connections and their common sources, taking its cue from an analysis of the similar arguments (...) the two authors offer to justify the analogy between Gothic architecture and Scholasticism. The fulcrum for the comparison between Peirce and Panofsky is located in the writings of Edgar Wind: a leading figure, this article proposes, in the history of European pragmatism. (shrink)

Beyond the defiance of the young iconoclast—Wilde himself, of course—and the rather perfunctory curve of Dorian Gray to that gothic final sight , there is another, possibly less strident, but more central theme. That one is damned for selling one's soul to the devil is a commonplace in legends; what arrests our attention more, perhaps, is Wilde's claim or boast or worry or warning that one might indeed be poisoned by a book . . . and that the artist, (...) even the presumably "good" Basil Hallward, is the diabolical agent. Wilde's novel must be seen as a highly serious meditation upon the moral role of the artist—an interior challenge, in fact, to the insouciance of the famous pronouncements that would assure us that there is no such thing as a moral or an immoral book or that all art is "quite useless." Wilde's genius was disfigured by his talent: he always sounds much more flippant, far more superficial, than he really is. So one always say about Dorian Gray, with an air of surprise, that the novel is exceptionally good after all—and anyone who has read it recently replies, with the same air of faint incredulity, yes, it is exceptionally good—in fact, one of the strongest and most haunting of English novels. Yet its reputation remains questionable. Gerald Weales virtually dismisses it as "terribly fin de siècle " in a rather flippant introduction to the novel, and it would be difficult to find a critic who would choose to discuss it in terms other than the familiar ones of decadence, art for art's sake, art as "the telling of beautiful untrue things." Joyce Carol Oates has written, among others, Bellefleur, Childhood, a collection of short stories, Nightside, and Son of the Morning. Her contributions to Critical Inquiry, include "Jocoserious Joyce" and "Lawrence's Gotterdammerung". (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

My study of Mary Shelley and father includes her husband because Percy Shelley’s obsessions with patriarchy, with “ ‘GOD, AND KIND, AND LAW,’ ” influenced profoundly Mary’s* art and life. Percy’s idealizations of father in The Revolt of Islam and Prince Athanase indicated ways or resolving familial antagonisms which Mary adopted and developed her later fiction. Percy’s relationship with Frankenstein is still more intricate. Recognizing that her husband’s obsessions with father and self-creation were contributing to the deterioration of their marriage, (...) Mary represents these obsessions in Victor Frankenstein—partly to vent in art the anger which would have further damaged the marriage, and party to show Percy before it was too late the errors of his ways. It was too late. Percy responded to Frankenstein in Prometheus Unbound and The Cenci with a reaffirmation of sonship which has been largely unrecognized by scholars.Father looms so large for both Mary and Percy Shelley that no one critical approach can account for him fully. At their most idealistic—and thus most traditional—the Shelleys encourage a critical methodology which integrates the traditional disciplines of biographical and close textual analyses. By taking this approach to Mary’s later fiction and to Percy’s The Revolt of Islam, I can not only confirm the prominence of father for the Shelleys but also establish the ideal against which their most subversive and important art was created. Reading this indirect, overdetermined art in light of the negative Oedipus will help answer important questions about Frankenstein, Prometheus Unbound, and The Cenci and will, I hop, add to our understanding of the vexed role of father in the Romantic period and in subsequent generations whose children we are. William Veeder, professor of English at the University of Chicago, has published books on Yeats, Henry James, and Victorian feminism. His Mary Shelley and “Frankenstein”: The Fate of Androgyny will appear in December 1985. The Art of Criticism: Henry James on the Theory and the Practice of Fiction, coedited with Susan M. Griffin, and Dr. Jekyll and Mr. Hyde: The Centenary, a collection of new essays on Stevenson’s novel, are also forthcoming . He is currently at work on The Serpent’s Tale: Anglo-American Gothic Fiction, 1885-1914. (shrink)

What is a horizon? A line where land meets sky? The end of the world or the beginning of perception? In this brilliant, engaging, and stimulating history, Didier Maleuvre journeys to the outer reaches of human experience and explores philosophy, religion, and art to understand our struggle and fascination with limits—of life, knowledge, existence, and death. Maleuvre sweeps us through a vast cultural landscape, enabling us to experience each stopping place as the cusp of a limitless journey, whether he is (...) discussing the works of Picasso, Gothic architecture, Beethoven, or General Relativity. If, as Aristotle said, philosophy begins in wonder, then this remarkable book shows us how wonder—the urge to know beyond the conceivable—is itself the engine of culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Architectural Theory, Volume 1: An Anthology from Vitruvius to 1870Peg RawesArchitectural Theory, Volume 1: An Anthology from Vitruvius to 1870, edited by Harry Francis Mallgrave. Malden MA, Oxford, Victoria: Blackwell Publishing, 2006, 590 pp., $49.95.This anthology is a rich and comprehensive documentation of the key stages that construct Western architectural theory, from Vitruvius's classical writing to Gottfried Semper's theories in late-nineteenth-century Europe. Comprised of 229 texts by these (...) and other significant writers of architectural theory, it represents an extremely valuable resource for architectural design, history, and theory education and, more broadly, for aesthetic education, art history, aesthetics, and visual culture. Professor Mallgrave's career as an architectural historian and theorist at the Illinois Institute of Technology, and editor of Architecture and Aesthetics for the Texts and Documents Series at the Getty Research Institute, has enabled him to bring together a large number of canonical texts by architects and writers, including Alberti, Palladio, Vasari, Perrault, Wotton, Wren, Soufflot, Blondel, Boullée, Ledoux, Soane, Reynolds, Pugin, Viollet-le-Duc, Ruskin, and Greenough. In addition, Mallgrave has selected important contextualizing texts that inform the philosophical, cultural, and aesthetic development of the discipline by writers such as Rousseau, Voltaire, Montesquieu, Morris, Chambers, Winckelmann, Locke, Hume, Ramsey, Burke, Walpole, Price, von Schlegel, Wolff, Jefferson, Emerson, Hugo, Zola, and Leibnitz.Six stages of development are laid out, beginning with the Classical and Renaissance periods in part I. In part II the debates about Classicism in France and Britain develop, leading into part III, in which texts from the Neoclassical and Enlightenment debates in Europe take precedence. In part IV, Picturesque and Sublime theories are documented, from which part V turns to consider the importance of Historicism in the nineteenth century and, finally, in part VI the impact of Historicism is examined in relation to developments in industrialization.Introducing each part, Mallgrave succinctly highlights the historical, cultural, and political structures that underpin the development of architectural ideas and debates during the period. Within each part, internal sections further distinguish the particular ideas that preoccupied specific individuals and groups to comprise different theoretical positions. Part II, for example, is divided into the nationalist differences between "French Classicism: Ancients and Moderns" and "British Classicism and Palladianism," and part IV identifies key texts that contribute to the theorization of eighteenth-century aesthetics in three stages: "Sources of the Picturesque," "Toward a Relativist Aesthetics," and "Consolidation of Picturesque Theory." In addition, Mallgrave introduces each individual text, drawing attention to the author's intellectual ambitions and the contemporary debates in which their contribution is constructed. Architectural [End Page 111] theory is therefore characterized as a discipline that is made up of dynamic discussions, which are frequently unresolved and irregular in their formation. Diverse and opposing agendas are pursued, both within and between different institutions, academies, and communities, including the late-sixteenth-century "stylistic battles" of Alberti and Serlio's treatises, which were developed out of Vitruvius's ten "books" of architecture; the pluralism of styles in the United States in the mid-nineteenth century that was comprised of puritanical influential theories, Gothic and French Classicism, and the new generation of American architectural theorists; and the emergence of a German architectural theory within the political disputes that led to the unification of Germany in 1871. Architectural theory is therefore firmly constructed in relation to social, material, cultural, and political systems and frameworks.This colorful construction of architectural theory is evident, especially in those sections that are central to Mallgrave's ongoing research interests, in the tension between the rational, technical, and empirical discussions that inform seventeenth-, eighteenth-, and nineteenth-century aesthetics. Running through parts II and III, for example, is one of the most drawn-out and bitter disputes, which dominated architectural theory in the seventeenth- and eighteenth-century French Academy of Architecture. Focused on the value of Vitruvius's Roman origins of Classicism, versus revivalist ambitions to retrieve the ornamental Classicism of Greek and Gothic styles, this great quarrel occupies the texts, letters, essays, and articles by architects and writers, including Blondel, Perrault, Piranesi, Soufflot, Winckelmann, Le Roy, Boullée, and Ledoux. But this debate is also important in the context of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Wittgenstein, Tolstoy, and ShakespearePeter B. LewisNear the middle of the first of his 1938 Lectures on Aesthetics, Wittgenstein talks about what he calls "the tremendous things in art"(LC, I 23 8, italics in original).1 Apart from a brief indication of the way in which our response to the tremendous differs from the non-tremendous, he does not refer again in this way to the tremendous things in art, though he (...) does refer elsewhere to what he calls "supreme art." But he does provide a couple of examples of the tremendous in art, the symphonies of Beethoven and Gothic Cathedrals. Suppose, now, like the student in the Investigations §185, we are asked to continue the series. I take it that, even given the lack of information, we could safely propose, say, Homer—the Iliad and the Odyssey—and Michelangelo—the Sistine Chapel—as further examples of the tremendous things in art. The idea is that the tremendous things in art are not works that are just very good or very fine, but rather they are great, supremely great; works of stature; special cases; instances of the highest kind of artistic achievement, occupying a distinctive place in the history of (Western) civilization.Another obvious candidate for the list of the tremendous things in art would be Shakespeare, where the name is shorthand for the great plays, the tragedies in particular, Lear, Hamlet, Othello,and so on. So it comes as something of a surprise to discover on reading that miscellaneous compendium of remarks known as Culture and Value that Wittgenstein himself had serious doubts about including Shakespeare in the pantheon of the tremendous things in art. There are seven passages in Culture and Value in which Wittgenstein reflects on Shakespeare.2 The earliest is dated 1939–40, though this passage does not appear to be critical of Shakespeare. The next two passages are [End Page 241] dated August 1946, the remainder coming in 1949 and 1950. The remarks critical of Shakespeare are, then, all very much late Wittgenstein.It is well-known that lots of people dislike Shakespeare's plays. Generations of school children have developed indifference or boredom or hatred that persists throughout their lives. And yet that does not count against Shakespeare's greatness; for, to borrow Hume's remark on those who would prefer Ogilby to Milton, "no one pays attention to such a taste; and we pronounce without scruple the sentiment of these [people] to be absurd and ridiculous."3 That rhetoric is, however, not available, at least not immediately, when the "pretended critic" (Hume's phrase) has the intellectual clout and aesthetic sensibility of a Wittgenstein; nor, for that matter, the artistic achievement of a Tolstoy.I have particular grounds for bringing Tolstoy into this discussion. In the first place, there is the importance of Tolstoy in the development of Wittgenstein's thinking about religious, moral and aesthetic issues. Secondly, it is by contrast with Tolstoy's criticism of Shakespeare that we can gain further understanding of Wittgenstein's remarks on Shakespeare. These two points are related. For it seems to me that it is partly through his reflections on Tolstoy's theories about art that Wittgenstein is led into commenting upon Shakespeare.Tolstoy famously attacks Shakespeare in his pamphlet, "Shakespeare and the Drama,"4 published in 1903 when Tolstoy was seventy-five years of age. Some have taken this essay as evidence that Tolstoy was in his dotage, his mind warped by religious-moralistic fervor. Not only does this fail to do justice to Tolstoy's reasons for criticizing Shakespeare—reasons that Howard Mounce has recently argued are by no means ridiculous5 —it also neglects the fact that the essay is the culmination of Tolstoy's life-long antagonism to Shakespeare. Nevertheless, that very slur on Tolstoy's sanity attests to Shakespeare's status in our culture as something tremendous. His achievement is a standard against which others are measured. And this, I think, is at least partly what Wittgenstein is hinting at in his remarks about the contrast between the tremendous and the non-tremendous in art when he says of the tremendous that "it plays an entirely different role... (shrink)

The large swinging bell Gloriosa, cast in 1497 for Erfurt Cathedral by Gherardus de Wou, ranks as an outstanding masterpiece of Gothic bell-founding art. Its musical quality and formal aesthetics became an object of emulation for generations of succeeeding bell founders and there have been repeated attempts to discover the hidden deisgn of the bell's profile. An early drawing is based on measurements made in 1865 by Sorge and consistent or modified reproductions of it were subsequently published by several (...) authors. Since 1985, a new admeasure of the bell's profile has been available. From these data a shape-fitting reconstruction was obtained by means of computer aided design (CAD) but following the traditional principles of bell design. With the aid of the finite element method (FEM) the frequencies of the partials of a bell can be calculated from its material and its profile. They make up the inner harmony as an important part of euphony, namely the purity of sound. Calculated values for the most important partials are given in terms of deviation from ideal harmonic intervals and are compared with acoustically ascertained values and modern standards. A further part of euphony, i.e. reverberation and sonority, is related to the bell metal, makingGloriosa highly resonant. As a piece of luck with a singular coincidence of perfect profile and excellent material.Gloriosa will remain the undefeatable prototype of western bells. (shrink)

The eighteenth‑century English writer Matthew Gregory Lewis wrote one of the most dramatic Gothic novels, The Monk; over 200 years later, a film of the same name appeared, based on the novel and directed by Dominik Moll. The film, a free adaptation of the book, presenting the story of the moral downfall of the monk Ambrosio, has inspired us to philosophical reflections on sexuality, sensuality, and physical desire. We have attempted to analyze and interpret this cinematic work of art (...) in the context of these issues. The method we have adopted is based on a thorough discussion of the topics developed in the film and related issues. This method, while not pretending to be scientific objective, enables us to outline an interesting field of research as well as to identify a number of theoretical problems and questions that remain open. The formula we have adopted is to quote lines from the film The Monk which permits the analysis of selected issues related to sexuality, sensuality, and physical desire. Moreover, these quotes serve to order the text and enable the precise identification of interpretive trains of thought. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:preface That an overtly white-nationalist misogynist demagogue was voted into power in the United States is cause for alarm and despair. As the election results sink in and analyses take shape, we at Feminist Studies mark this moment via poetry, a tradition of feminist expression that we have long nurtured. We include in this issue a special section on poems responding to the election. Raw by necessity, they allow (...) for a collective processing of feelings experienced in this moment, even as we prepare for the courage and acuity needed in days ahead. The scholarly works in this issue offer reflections on the travels of the term gender: in French Canadian feminist circles; the misreadings of gender and sexuality in histories of post-WWII New York City; and the gains and gaps in activism against gender-based violence and inequality. Geneviève Pagé recounts how the term gender was taken up in French Canadian scholarship, while Alix Genter offers a visual history of what butchness meant in 1950s and 1960s New York City. Julie R. Enszer tracks the representation of women writers through literary grants offered by the National Endowment for the Arts and in Norton anthologies, making the case that gender parity remains an elusive goal. Elizabeth Jean Hornbeck narrates the 1980 horror film The Shining as a commentary on violence against women and child abuse that uses the Gothic form to salutary effect. Nikki Lane reviews recent scholarship in black queer ethnography, and Jennifer A. Wagner-Lawlor introduces us to the feminist eco-art of Pamela Longobardi. Our featured poets, apart from our special section, are Hannah Baker Saltmarsh and Karen An-hwei Lee. Our closing forum on trigger warnings narrates the innovative practices that Alexis Lothian and Ramzi Fawaz propose in response to a contentious pedagogical debate. 560Preface Geneviève Pagé describes the history of the journey of the term gender in feminist circles in Montreal, using this case to comment on the dilemmas that arise from Anglocentrism in feminism. Pagé argues that in many ways, the term gender was not well suited to the context she highlights: Quebec feminists already possessed an intellectual infrastructure for referencing the meanings of the term gender through alternative phrasing, such as rapport sociaux de sexe. Furthermore, the grammatical concept of genre was “a concept central to the French language, but only peripheral in the English language,” and therefore, its use in French carried a potential “naturalizing” connotation. Nonetheless, given the dominance of English in feminist theory, Pagé concludes that “the polysemic nature of gender” allowed “for a fluid and multiple account of the local and global processes at work in the construction of women and men” in this context. Alix Genter gives us a nuanced understanding of butch genders and butch-femme aesthetics. Rather than relying on a stereotypical version of the 1950s queerly legible butch in masculine clothes, Genter argues that butchness itself was visually nuanced and coded in different ways than expected. Referencing a rich archive of 1950s-era photographs, Genter demonstrates that butch-identified women “conveyed their identities through alternate means that included clandestine codes and plays on women’s fashions.” This approach to butch aesthetics and lesbian self-representation opens up the common notion of a strict butch-femme contrast and introduces the concept of conscious mutual survival between the two lesbian identities. The appreciation of nuance continues in Nikki Lane’s review essay of reflexive ethnographic research about black queer communities. Lane’s review of recent work by Jafari S. Allen, Marlon Bailey, Mignon Moore, and Mireille Miller-Young highlights the attention these authors give to the complex politics of sexuality in everyday experiences of black communities. With an emphasis on the illuminating potential of ethnography and qualitative methodologies, Lane discusses how each text adds to our understanding of processes of “racialization, gendering, and sexualization.” Lane concludes that black queer and feminist ethnographic methods help accrue an embodied knowledge—the “flesh”—of black queer experience. Preface 561 The art featured in this issue is by Pamela Longobardi, who uses found-plastic objects to create painting, sculptures, installations, assemblages, photographs, and community-art projects. As an artist with training in biology, Longobardi focuses on the... (shrink)

Albrecht Dürer was German, but it was Italy he loved and followed the example of. Along with Erasmus of Rotterdam, he was one of the first to instil the ideas of Italian humanism in northern Europe, paying attention to the study of ancient culture, and thus fighting for the renewal of art in the spirit of the Renaissance. Dürer believed that using the patterns developed in Florence, the art of imaging would achieve unprecedented narrative power. The uniqueness of the artist (...) from Nuremberg was also that he was able not only to assimilate and synthesise German Gothic art with the achievements of the Florentine school, but also to develop his own vision of the theory of art taking into account the specifics of native art. His research on the theory of movement, the implementation of objects into the structure of the image, the search for the perfect beauty in woodcut and copper engraving can be considered to be unique and pioneering projects in Germany. The influence of Dürer on the sphere of Renaissance iconography is invaluable, but unfortunately it is often omitted in the literature as secondary or even insignificant. The article shows that Dürer’s theoretical influence on the shape of early modern art is noteworthy. (shrink)

The subject of the study is the role of stained glass in the visual semiosis of religious buildings in Crimea. The object of the study is the stained glass decor of the sacred architecture of the Crimea. The research uses the methods of cultural (hermeneutic and semiotic) and artistic (idiographic and structural) analysis of stained glass art in the sacred space of Crimean architecture, the method of analysis of previous studies, the method of synthesis in conclusions regarding the development of (...) stained glass in the Crimean cult architecture. In the study, the authors considered the following areas of the topic: the development of stained glass art of the Crimea in sacred architecture; the meaning of color and subject symbols in stained glass compositions of religious buildings of the Crimea. The main conclusions of the study are: 1. Stained glass art, more precisely, its subject component, is not authentic for the Crimea, it appears in the decor of residential and public buildings during the late XIX century, the beginning of the eclecticism of Art Nouveau and imitation of Gothic and Byzantine models. Colored glass in earlier periods decorated the windows of well-to-do houses of representatives of various Crimean ethnic groups, however, stained glass as a phenomenon was not characteristic of sacred structures. 2. Due to its geographical location, Crimea is a multicultural and multi-confessional territory, where various religious trends developed: ancient pantheism, Byzantine Orthodox Christianity, Catholicism and Protestantism with the colonization of Catherine's time, Islam, Ashkenazi and Sephardic Judaism. Stained glass windows in religious buildings of various faiths, in addition to decorative function, play a symbolic role, conveying through color, symbolism of abstract and object forms one or another sacred meaning. 3. A special contribution of the authors to the study of the topic is the cataloging, art history and cultural description of examples of stained glass art in the sacred architecture of the Crimea. The scientific novelty of the study is that the authors for the first time carry out an ontological analysis of stained glass art in the sacred visual semiosis of the Crimea and analyze its semiotic aspects. (shrink)

With particular focus on Danish artists Henry Heerup (1907-1993), Carl-Henning Pedersen (1913-2007) and Asger Jorn (1914-1973), this article illustrates how spontaneous-abstract artists in World War II-era Denmark helped to perpetuate an idealized image of the Middle Ages as a homogeneous and unspoiled social order. It is argued that these artists took medieval culture to represent an uninhibited, irrational art, which they believed had somehow remained unsullied and beyond the exploitation of modern society’s political and capitalist powers. It is further demonstrated (...) that these artists’ idealizations tended to project onto the Middle Ages certain ideas about collectivization and the potentials of institutional critique; these commentaries resonated deeply with the volatile war and post-war political climate of their own times as well and had a clear lineage in earlier movements such as Gothic Revival, Arts and Crafts, Art Nouveau and Symbolism. This article thus posits that the medievalism in and of Danish spontaneous-abstract art can no longer be seen as independent of and unrelated to the medievalisms of the eighteenth and nineteenth centuries. (shrink)

Los siglos del gótico final de la Edad Media fueron, en el género pictórico en concreto, una época de continuidad de presupuestos en el terreno del arte y de incorporación de elementos naturalistas, pero también reflejaron la importancia del influjo del pensamiento en boga, por ejemplo, el del hermetismo. The artist-craftsman and microcosm in late Middle Age The centuries of the final Gothic of the Middles Ages were, particularly in the pictorial genre, a time of continuity of presuppositions in (...) the realm of arts as well as incorporation of naturalistic elements. However, they also reflected the significant influence of ways of thinking in vogue, such as hermeticism, for instance. (shrink)