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Which clippings match 'Exhilarating Experience' keyword pg.1 of 1
20 NOVEMBER 2014

Edmund Burke on the sublime

"Some things that move us are beautiful, others are sublime. But the sublime moves us more profoundly than the beautiful. See how Edmund Burke tied the experience of the sublime to the possibility of pain and how the idea went on to influence the artistic Romanticism movement. Voiced by Harry Shearer. Scripted by Nigel Warburton."

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18th centuryaesthetic experienceaesthetic spectacleAge of Enlightenment • apprehension • aristocratic political norms • aristocratic social norms • artistic movementauthenticityawebeautifulChinoiserie • Counter-Enlightenment • Edmund Burke • emotion • European phenomenon • exhilarating experienceexoticexperience of the sublimefolk artfrightening • Harry Shearer • heroic individualism • historical inevitability • historiography • history of ideashorror • imagination to envision and to escape • individual imagination • industrial revolution • intense emotion • intuitionmedieval art • medievalism • musical impromptu • nationalism • natural epistemology of human activities • natural inevitability • natural sciencesnatureNigel Warburtonpicturesque • possibility of pain • representation of ideas • Rococo • romantic era • romantic notion of the artist • romantic period • romantic sublimeromanticism • scientific rationalisation of nature • spontaneity • Sturm und Drang • sublime • sublimity of untamed nature • terror • unfamiliar • urban sprawlvisual artsvisual spectacle

CONTRIBUTOR

Simon Perkins
06 FEBRUARY 2006

Spectacle as Show: not an inferior part of tragedy

"In a brief but suggestive passage from his Ten Books on Architecture, Leone Battista Alberti, the fifteenth–century Renaissance poet, philosopher, and architect, sets public performance into a frame of social exchange. His subject being architecture, he arrives in his eighth book at the point of discussing 'Places for publick Shows.' ...

In placing the Actor within the wider category of public shows, Alberti reminds us of the organic connections among all forms of performance. He is at the opposite pole from Aristotle who considered drama a branch of literary art. What Alberti identifies as Show, Aristotle catalogued as an inferior part of tradegy: spectacle. Alberti's practice coincided with and reinforced the practice of his contemporaries and successors. Until the renaissance, most of these were rhetoricians. Their five parts of rhetoric–the number into which the subject was most frequently divided–included delivery. Here, it would seem, was an opportunity to discuss public performance since delivery concerned the manner of speaking. But quite contrary. Writing on delivery illustrates the conventional and persistent subordination of the event of speaking to the composition of speech. So prevalent was this way of ordering the parts of rhetoric and poetics that rare indeed was the person who conceived of performance as an independent entity."
(Bernard Beckerman, 1990)

Beckerman, Bernard. 1990 p.Prologue X. Theatratical Presentation, New York, USA: Routledge.

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aesthetic spectacleamazementarchitectureAristotleastonishmentawe • Bernard Beckerman • curiositydramaemotional immersionEuropean Renaissanceexhilarating experienceLeon Battista Alberti • marvel • narrativeorderingperformance • performance spectacle • Places for publick Shows • Poeticspublic shows • puzzlement • rhetoricshockshow (spectacle)social exchangespacespectaclesurprise • Ten Books on Architecture • theatretragedy • wonder • wonderment
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