Terror and Sublime: A Tale of Love
摘要
The work of Oskar KokoschkaKokoschka, Egon SchieleSchiele, and Edvard MunchMunch has been analyzed as an expression of a tormented age of anxiety. However, it is foremost the result of destructive amorous relationships. If we believe with BurkeBurke that the sublimeSublime is a passion that has pain for its object, it is proper to enquire how pleasure can be generated from a source so contrary to it. The Burkean terror-filled sublimeSublime is less terrifying or obscure if we place it within the borders of the aesthetic discourse of the twentieth century.1