By Lisa A. Dickson, Maryna Romanets
This quantity explores the connection between good looks, violence, and illustration in a vast diversity of creative and cultural texts, together with literature, visible paintings, theatre, movie, and track.
Charting diversifying pursuits within the topic of violence and sweetness, facing the a number of inflections of those questions and representing a spectrum of voices, the quantity takes its position in a transforming into physique of modern severe paintings that takes violence and illustration as its item. This assortment bargains a distinct chance, even though, to handle an important hole within the serious box, for it seeks to interrogate in particular the nexus or interface among good looks and violence. whereas different texts on violence utilize regimes of illustration as their subject material and think about the results of aestheticization, attractiveness as a serious classification is conspicuously absent. moreover, the e-book goals to "rehabilitate" attractiveness, implicitly conceptualized as politically or ethically regressive via postmodern anti-aesthetics cultural positions, and extra facilitate its come-back into severe discourse.
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Extra info for Beauty, Violence, Representation
No event, no truth, no historical moment, no ritual meaning could be more importantly and productively retained in the memory than Christ’s violent passion, represented everywhere, not only in the biblical cycle plays. Once viewed and remembered, images of the Passion became part of their spectators, helped these spectators to construct their sense of self as individuals and as a community. I. MEMORY, THE BEAUTIFUL, THE UGLY, AND THE VIOLENT According to Mary Carruthers, despite a dramatic increase in the availability of written material from the eleventh century, “Medieval culture remained profoundly memorial in nature” largely because of “the identification of memory with the formation of moral virtues” (156).
By dramatizing Christ’s incarnation and very material, very violent, very bloody, very painful passion, the plays function to confirm a truth that cannot be observed as clearly and as apparently as physical acts of violence can: the graphic violence of the plays confirms the truth that the Eucharistic wafer is the body and blood of Christ. The spiritual—the miracle that cannot be observed—borrows some of the reality of the material, of Christ’s torture, of the undeniable reality of his suffering.
Lack cannot be recognized and appreciated without a prior understanding of wholeness or integrity. The beauty of specific moments and images in the Passion sequences depended to a great degree on their sense of integrity, and their integrity depended on the familiarity of those moments and images to the plays’ original audiences. If, as Knapp suggests, Thomist integrity resembles Wittgensteinian aspect formation, then integrity, although a quality of the object, requires recognition by the observing subject: the image is discerned and distinguished from its context as something other and something separately meaningful (33).
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