The Sublime

Porter, James I.

doi:10.1002/9781119009795.ch26

A Companion to Ancient Aesthetics 2015

DOI: 10.1002/9781119009795.ch26

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The Sublime

James I. Porter¹

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THE TERMINOLOGY FOR BEAUTY IN THEILIADAND THEODYSSEY

Shakeshaft

2019

The Class. Q.

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An ancient Greek proverb declares: ‘beautiful things are difficult’. One obvious difficulty arises from their almost limitless variety: sights, sounds, people, natural phenomena, man-made objects and abstract ideas may all bebeautiful, but what do these things have in common? It is not just beauty's breadth of application, then, that makes it difficult, but the way in which its meaning varies depending on context. The beauty of a child may mean something quite different from the beauty of an old and wizened face, let alone the beauty of a supermodel. In common parlance,beautifulmay be used as a general term of approbation alongside others likelovelyorfine, while in academic discourse, the wordbeautyhas a life of its own: since the emergence of aesthetics as an independent discipline in the mid eighteenth century, beauty has been constantly theorized and responded to in different ways that have laden the term with its own peculiar historical baggage. And although some of these philosophical reflections on beauty may have trickled into the common cultural consciousness, in general they seem a far cry from beauty's most ubiquitous incarnation in modern Western society, in the cosmetics industry; to put it another way, if you go into a beauty salon in search of a Kantian ideal of disinterested contemplation, I suspect you will be disappointed.

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THE TERMINOLOGY FOR BEAUTY IN THEILIADAND THEODYSSEY

Shakeshaft

2019

The Class. Q.

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A Wor(l)d beside Itself: Exploring and Experiencing the Uncanny in Lucan'sBellum Civile

Sanderson

2021

Preternature: Critical and Historical Studies on the Preternatural

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This article examines the Bellum Civile's presentation and provocation of experiences that we might now consider to be uncanny. The first section offers an overview of the uncanny from psychoanalysis to literary and aesthetic criticism and outlines the framework through which I will approach the Bellum Civile's uncanny elements. The second section discusses how we may use this model of the uncanny to explore how Lucan represents his internal characters' incomprehension, confusion, and a lack of physical mastery when faced with the reality of civil war. The final section will consider how these uncanny experiences are projected beyond the page through the metonymic use of nefas (crime/horror), Lucan's overarching civil war signifier.

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The Sublime

Cited by 2 publications

References 23 publications

THE TERMINOLOGY FOR BEAUTY IN THEILIADAND THEODYSSEY

THE TERMINOLOGY FOR BEAUTY IN THEILIADAND THEODYSSEY

A Wor(l)d beside Itself: Exploring and Experiencing the Uncanny in Lucan'sBellum Civile

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