Beauty, Violence, Representation by Lisa A. Dickson, Maryna Romanets

By Lisa A. Dickson, Maryna Romanets

This quantity explores the connection between attractiveness, violence, and illustration in a vast diversity of inventive and cultural texts, together with literature, visible artwork, theatre, movie, and tune.

Charting diversifying pursuits within the topic of violence and wonder, facing the a number of inflections of those questions and representing a spectrum of voices, the amount takes its position in a starting to be physique of contemporary serious paintings that takes violence and illustration as its item. This assortment deals a distinct chance, although, to deal with an important hole within the severe box, for it seeks to interrogate particularly the nexus or interface among attractiveness and violence. whereas different texts on violence utilize regimes of illustration as their material and view the results of aestheticization, good looks as a serious type is conspicuously absent. additionally, the publication goals to "rehabilitate" attractiveness, implicitly conceptualized as politically or ethically regressive via postmodern anti-aesthetics cultural positions, and additional facilitate its come-back into serious discourse.

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2, q. 169, art. 2, reply to obj. ). 36 Leanne Groeneveld The dramatic Passion sequences in York and Chester can be considered beautiful because useful, and useful because they promote in the spectator an understanding of the good and true. The biblical cycle plays are “quick images,” as Lerud reminds us. Because they are “quick” or living, they have the unique ability to explain their own meaning (Lerud 47). For example, in the York Death of Christ, Christ speaks directly to the audience, telling them: For thy misse [your misdeeds] amendis wille I make.

Badiou’s theory is focused on the production of axioms translated into a set of inflexible formulae to ultimately assert the immanence—art is “rigorously coextensive with the truths that it generates”—and singularity— these “truths are given nowhere else than in art”—of the relation between art and truth (9). Within Badiou’s political theater projects, truth reveals itself through the fidelity to artistic events, and each event always constitutes a far-reaching rupture from the current state of the situation and is combined with transgression which is entailed by that rupture (Lucy Bell 109).

The more exceptional or excessive these pictures or images, the more easily they would be remembered. The author of the widely circulated (in the Middle Ages) first-century BCE Rhetorica ad Herennium writes that rhetoricians (“we”) will succeed in implanting images more firmly in the imagination (in our own and in the imaginations of audiences) “if we assign to them exceptional beauty or singular ugliness; if we dress some of them with crowns or purple cloaks . . , for example, so that the likeness may be more distinct to us; or if we somehow disfigure them, as by introducing one stained with blood or soiled with mud or smeared with red paint .

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