The Sublime: A Reader in British Eighteenth-Century Aesthetic TheoryAndrew Ashfield, Peter de Bolla Cambridge University Press, 15.08.1996 This collection of texts on the Sublime provides the historical context for the foundation and discussion of one of the most important aesthetic debates of the Enlightenment. The significance of the Sublime in the eighteenth century ranged across a number of fields - literary criticism, empirical psychology, political economy, connoisseurship, landscape design and aesthetics, painting and the fine arts, and moral philosophy - and has continued to animate aesthetic and theoretical debates to this day. However, the unavailability of many of the crucial texts of the founding tradition has resulted in a conception of the Sublime often limited to the definitions of its most famous theorist Edmund Burke. Andrew Ashfield and Peter de Bolla's anthology, which includes an introduction and notes to each entry, offers students and scholars ready access to a much deeper and more complex tradition of writings on the Sublime, many of them never before printed in modern editions. |
Im Buch
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Seite xiv
... causes aesthetic pleasure?', and that the insistence made upon the discursive complexity of the concept of the sublime results in a 'thick description' of British eighteenthcentury aesthetics. The collection effectively proposes an ...
... causes aesthetic pleasure?', and that the insistence made upon the discursive complexity of the concept of the sublime results in a 'thick description' of British eighteenthcentury aesthetics. The collection effectively proposes an ...
Seite xviii
... cause and effect of sublime affect. This is evidenced in a repetitious return to the primal scene of transport in order to refine yet further what prompts or causes it; hence the greater distinctions between vocabulary sets as the ...
... cause and effect of sublime affect. This is evidenced in a repetitious return to the primal scene of transport in order to refine yet further what prompts or causes it; hence the greater distinctions between vocabulary sets as the ...
Seite xix
... cause and affect are if anything intensified here. This approach understands the sublime in terms of a set of ... causes, such as grand objects in the world, are relegated by the attempt to describe mental effects. The question now ...
... cause and affect are if anything intensified here. This approach understands the sublime in terms of a set of ... causes, such as grand objects in the world, are relegated by the attempt to describe mental effects. The question now ...
Seite xxii
... causes and qualities. It remains largely for Burke's successors to press the limits of these approaches and, in the wake of the Enquiry to develop the third approach outlined above. But Burke himself found good cause to adopt a more ...
... causes and qualities. It remains largely for Burke's successors to press the limits of these approaches and, in the wake of the Enquiry to develop the third approach outlined above. But Burke himself found good cause to adopt a more ...
Seite xxiii
... the aesthetic realm: we need no longer worry about whether the cause of the elevated experience is out there in the world or in here, in our own internal responses to that world. Now, with Karnes's 'doubling' it. Introduction. 13.
... the aesthetic realm: we need no longer worry about whether the cause of the elevated experience is out there in the world or in here, in our own internal responses to that world. Now, with Karnes's 'doubling' it. Introduction. 13.
Inhalt
ix | |
xi | |
xxvii | |
Rhapsody to rhetoric | ii |
Irish Perspectives | 127 |
The Aberdonian Enlightenment | 157 |
Edinburgh and Glasgow | 195 |
From the Picturesque to the Political | 263 |
Sources and further reading | 307 |
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The Sublime: A Reader in British Eighteenth-Century Aesthetic Theory Andrew Ashfield,Peter de Bolla Eingeschränkte Leseprobe - 1996 |
Häufige Begriffe und Wortgruppen
Adam Smith admiration aesthetic agreeable appears arises astonishment attention awful beauty called cause character circumstances common conception consider contemplation degree delight Demosthenes discourse distinct divine Edmund Burke eighteenth-century elegance elevation emotion enthusiasm epic poetry exalted example excellence excite expression fancy feel figures French revolution genius give grand grandeur heart heavens Hence Homer horror human ideas Iliad images imagination imitation infinite kind language lofty Longinian Longinus magnificent mankind manner means ment Milton mind moral mountains nature never noble objects observe original Ossian pain painting Palemon Paradise Lost passion pathetic perfection picturesque pleasing pleasure poet poetry present principles produce qualities raise reading activity reason render Richard Payne Knight scenes Scottish enlighten sensation sense sensible sentiments soul species spirit sublime affect surprise taste terrible terror Theocles things thought tion tradition tropes tropological vast Virgil virtue wonder words writing