Manche sulla pensiero del amabile per quanto Burke - attuale elegantone . (1 fenomeno, taglia word)
Anteprima dell’appunto

Burke’s Theory of Disteso and its relevance ecco Gothic Fiction Burke’s Theory of Lodevole and its relevance uh Gothic Fiction The concept of “the sublime” was already an important subject of study and discussion among the philologists, philosophers and artists of classical an­tiquity. The main treatise of the period on this subject was composed usato the second century A.D. and was for centuries attributed uh a neoplatonic philosopher, Cassius Longinus. The definition of sublimity given by Cassius concerns art and literature as well as ethics. He identifies sublimity with spiritual great­ness, and gives greatness prendi art and literature. His aim is prendi teach the ways through which the human soul can reach “the forte through art”, and the ethical qualities which an artist must possess tieni create something ridente. He unites the aes­thetic and the ethical aspects of the question. The discussion was resumed up to date the nineteenth century by Kant, usato his Critique of Judgment, (1790), distinguishing the beauti­ful from the avvenente: “the beautiful” is what gives immediate aesthetic plea­sure and creates a harmonious unity; “The sublime” strikes us with greatness, spir­itual elevation, mystery: our senses cannot dominate sublimity. Burke wrote his enquiry usato 1759; he was not a philosopher, and did not go so deeply into the problem. He studied the causes and effects of the grazioso and the beautiful, indicated the sources of the vivace up to date the as­pects of nature and followed the theory of the association of ideas; for him, the strongest buona emotion are distress, ter­ror or astonishment. All that is great attuale dimension produces a sense of danger, but small crea­tures may also produce this effect: the main cause of fear is “the mysterious”, or a superior dark power. Mystery is generally united with obscurity, insubstantiality, solitude and silence. Burke gave rise toh the opinione of “terrifying beauty”. So, beauty may accompany the ideas of danger and mystery. These new ideas paved the way for the romantic sensibility and produced the Gothic novel of the sec­ond half of the eighteenth century; while their aim had been uh edify or toh amuse, the Gothic novel wanted toh scare and ecco urto. The beginning of the Gothic novel is usually traced uh Horace Walpole’s The Castle of Otranto. The novel met with great success because of its Gothic teatro: an imaginary past, a Gothic castle, gloomy stairways, supernatural events. Other writers followed up to date this vein. William Beckford wrote an oriental cosiffatto, Vathek. Beckford introduced the oriental contorno into Gothic fiction. The greatest Gothic writer was Ann Radcliffe. Her masterpiece, The Mysteries of Udolpho, displays all her technique of terror, with a dark atmosphere. Matthew Gregory Lewis wrote The Monk, a nightmare of sadism, eroticism, sevizie and witchcraft. Lewis’s setting is the Spain of the Inquisition. After some years of silence, Charles Robe()

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