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 wide diversity of inventive and cultural texts, together with literature, visible paintings, 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 quantity takes its position in a becoming physique of modern severe paintings that takes violence and illustration as its item. This assortment bargains a different chance, in spite of the fact that, to handle 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 consequences of aestheticization, attractiveness as a severe classification is conspicuously absent. additionally, the ebook goals to "rehabilitate" good looks, implicitly conceptualized as politically or ethically regressive by way of postmodern anti-aesthetics cultural positions, and extra facilitate its come-back into severe discourse.
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The “meta-mimetic” dependence of these dramas on ubiquitous images of the Passion in late medieval Western culture scaffolded, she argues, the evaluation of beauty and the construction of their audiences’ individual and collective identities. Like Groeneveld’s essay, Deneen Senasi’s “Staging Beauty; or, A History of Violence: Rending the Aesthetic in Jeffrey Hatcher’s Compleat Female Stage Beauty” also addresses conventions of consumption and assessment of beauty and violence in a theatrical context.
She concludes: “Whenever we allow ourselves to attribute meaning, whether political or spiritual, to the useless suffering of others we behave a bit like public executioners” (19). In speaking about beauty and violence caught in the deadlock of representation and politics, it is next to impossible to avoid contentious issues, and examples such as these raise difficult questions: What is the responsibility of art to the worlds with which it interacts and which it expresses? How does art in general, and beauty in particular, engage with the violence of those worlds, and the violence of its own constitution?
Although taking a very different topic as its object of study, “Environmentality and Air Travel Disasters: Representing the Violence of Plane Crashes” by Chris Schaberg also queries the means by which violence is made intelligible, here moving beyond the intimacy of murder to the broad scope of public disaster. Schaberg draws on modern environmental theories, deploying Arun Agrawal’s concept of “environmentality” and Timothy Morton’s notion of “the mesh,” for instance, to explore the use of figurative language in the accounts of three airplane crashes in 2008 and 2009.