By Gillian B. Pierce
Scapeland: Writing the panorama from Diderot's Salons to the Postmodern Museum is a comparative, interdisciplinary examine tracing theories of the elegant and a background of spectatorship from Diderot's eighteenth-century French Salons, via artwork feedback by way of Baudelaire and Breton, to Jean-François Lyotard's postmodern exhibition Les Immatériaux. within the Salons, an exploration of the painted panorama turns into an come across with either the boundaries of illustration and the limitless probabilities of fiction. Baudelaire and Breton discover comparable limits of their paintings, set opposed to the backdrop of the fashionable urban. For them, as for Diderot, the try and render visible items in narrative language ends up in the improvement of latest literary kinds and matters. Lyotard's notion of the "postmodern museum" frames the chic come across, once more, in phrases that expressly evoke Diderot's verbal rendering of painted areas as a private promenade. in line with Lyotard, Diderot "ouvre, par écrit, les surfaces des tableaux comme les portes d'une exposition.. . . [il] abolit . . . l'opposition de l. a. nature et de los angeles tradition, de los angeles réalité de l'image, du quantity et de los angeles surface." studying the literary construction of those 4 writers along their paintings feedback, Scapeland considers narrative responses to artwork as ingenious assertions of human presence opposed to the impersonal international of gadgets
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Scapeland: Writing the panorama from Diderot's Salons to the Postmodern Museum is a comparative, interdisciplinary research tracing theories of the elegant and a historical past of spectatorship from Diderot's eighteenth-century French Salons, via artwork feedback through Baudelaire and Breton, to Jean-François Lyotard's postmodern exhibition Les Immatériaux.
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Extra info for Scapeland : writing the landscape from Diderot's Salons to the postmodern museum
The sublime is a response to power, and especially to pure creative power. For Hegel (as for Longinus) the example from Genesis, “God said: Let there be light, and there was light,” quintessentially illustrates the sublime. The sublimity of God is a direct product of his power. ”102 The sublimity of the quotation from Genesis resides in its expression of the pure creative power of God, and in the utter compliance of nature. Does the simplicity of commanding constitute its power, or does its power constitute its simplicity?
Avocat focuses on the perceptive activity of the spectator of landscape and on the landscape as lived experience. The spectator’s subjective experience is just as important as the material physical existence of the landscape, and in fact, these two are indissociable: “le paysage serait aussi bien l’action de percevoir le pays que l’observation des traits qui le caractérisent. ”55 Avocat’s emphasis on what he calls “paysage vécu” or the “act” of landscape suggests that landscape or paysage most properly refers not to the object perceived, but to perception and interaction themselves in response to the natural object.
12. , 13. 40 Scapeland All this leads to the proposition that aesthetic satisfaction, experienced in the contemplation of landscape, stems from the spontaneous perception of landscape features which, in their shapes, colours, spatial arrangements and other visible attributes, act as sign-stimuli indicative of environmental conditions favourable to survival, whether they really are favourable or not. 56 Looking back at Lyotard’s reading of the connection between paysage and “pagus” or the pagan, it seems that the relationship between landscape and the survival instinct goes back to the linguistic association of the word with border regions.
Scapeland : writing the landscape from Diderot's Salons to the postmodern museum by Gillian B. Pierce