Αποτελέσματα Αναζήτησης
This introductory chapter charts the major directions that the Gothic aesthetic took in Britain, America and Europe over the course of the nineteenth century.
- 1.19 - Gothic Art and Gothic Culture in the Romantic Era
This chapter considers precisely those works of art that...
- 1.13 - The Aesthetics of Terror and Horror: A Genealogy
Critical discussion of these aesthetic categories is...
- 1.19 - Gothic Art and Gothic Culture in the Romantic Era
understanding of what we would now term a Gothic literary aesthetic was already beginning to take shape in the work of William Temple; John Dennis; Anthony Ashley Cooper, 3 rd Earl of Shaftesbury; John Dryden; Joseph Addison; and other writers of the late seventeenth and early eighteenth centuries. What distinguished such early invocations of ...
The crumbling walls of Kenilworth Castle against the backdrop of a stormy sky filled with birds in flight evokes the gloomy aesthetic of early Gothic fiction (Tillibean). Gothic literature arose at the end of the eighteenth century during a time of social, political, and economic unrest.
This chapter considers precisely those works of art that have defined Romanticism. The more circumscribed notion of art and the artist associated with the ‘autonomisation’ of art around 1800 is here tied to the emergence of Gothic forms and themes within painting.
eighteenth-century aesthetics and unify the period in a not totally arbitrary and artificial fashion. This methodological procedure should reveal not only the development which culminates in a more or less unified aesthetic doctrine, but also some of the central assumptions of the eighteenth-century consciousness.
16 Ιουλ 2020 · Critical discussion of these aesthetic categories is supplemented throughout by brief, illustrative examples from Gothic verse and fiction, some of which also expose the increasing politicisation of terror and horror in response to the French Revolution late in the century.
Gothic Revival was an architectural and artistic movement that emerged in the 19th century as a reaction against the prevailing Neoclassical style. It sought to revive the design elements and aesthetics of medieval Gothic architecture, which were deemed more authentic and spiritually significant.
