As the range of the aesthetic has expanded to cover not only a wider range of objects and situations of daily life but to encompass the negative. This includes terrorism, whose aesthetic impact is central to its use as a political tactic. The complex of positive and negative aesthetic values in terrorism are explored, introducing the concept of the sublime as a negative category to illuminate the analysis and the distinctive aesthetic of terrorism
How are the aesthetics of fear politically mobilised and politically mobilising? This article direct...
How are the aesthetics of fear politically mobilised and politically mobilising? This article direct...
This paper will investigate how contemporary artists who use political violence as a subject matter ...
The range of the aesthetic has expanded to cover not only a wider range of objects and situations of...
As the range of the aesthetic has expanded to cover not only a wider range of objects and situations...
This essay builds on Arnold Berleant’s concept of the negative sublime and his less-appreciated imag...
Violence has long been a factor in human life and has been widely depicted in the arts. This essay ...
At the end of the twentieth century there was a critical shift from prioritizing the anti-aesthetic ...
Representations of terrorism, in fiction and non-fiction, summon their readers and viewers to examin...
There have been numerous critical articles on what really happened on the otherwise beautiful mornin...
How can violence as evil be represented in art and what do works of art evoke in the viewer? Two clo...
At the end of the twentieth century there was a critical shift from prioritizing the anti-aesthetic ...
The nature of the relationship between art and terror/ism and why identifications between the two ar...
Images of extreme and ever more graphic violence are a part of contemporary culture. Since students ...
The discipline of aesthetics is generally associated with art and the word ‘aesthetics’ is often tak...
How are the aesthetics of fear politically mobilised and politically mobilising? This article direct...
How are the aesthetics of fear politically mobilised and politically mobilising? This article direct...
This paper will investigate how contemporary artists who use political violence as a subject matter ...
The range of the aesthetic has expanded to cover not only a wider range of objects and situations of...
As the range of the aesthetic has expanded to cover not only a wider range of objects and situations...
This essay builds on Arnold Berleant’s concept of the negative sublime and his less-appreciated imag...
Violence has long been a factor in human life and has been widely depicted in the arts. This essay ...
At the end of the twentieth century there was a critical shift from prioritizing the anti-aesthetic ...
Representations of terrorism, in fiction and non-fiction, summon their readers and viewers to examin...
There have been numerous critical articles on what really happened on the otherwise beautiful mornin...
How can violence as evil be represented in art and what do works of art evoke in the viewer? Two clo...
At the end of the twentieth century there was a critical shift from prioritizing the anti-aesthetic ...
The nature of the relationship between art and terror/ism and why identifications between the two ar...
Images of extreme and ever more graphic violence are a part of contemporary culture. Since students ...
The discipline of aesthetics is generally associated with art and the word ‘aesthetics’ is often tak...
How are the aesthetics of fear politically mobilised and politically mobilising? This article direct...
How are the aesthetics of fear politically mobilised and politically mobilising? This article direct...
This paper will investigate how contemporary artists who use political violence as a subject matter ...
DOI
Add to ORKG