"Here, nature has conducted her operations on a magnificent scale", observed the Governor of the State of New York in 1816. "This wild romantic and awful scenery is calculated to produce a ...corresponding impression on the imagination." Edmund Burke, the 18th-century British theorist, defined the sublime as "whatever is fitted in any sort to excite the ideas of pain or danger". Sublimity was typified in the dramatic compositions and dark contrasts of the wilderness landscapes of the 17th-century Italian painter, Salvator Rosa. The opposing aesthetic theory -of the beautiful-was epitomised in the ideal pastoral world, with its receding vista framed by trees, exemplified by the 17th-century French artist Claude Lorrain. Both theories influenced the English Romantic landscape tradition, which peaked in the works of John Constable and J M W Turner in the early 19th century. Thomas Cole founded the Hudson River School in the 1820s, which developed from this English tradition and gave it a new lease of life in paintings of the American wilderness.
Spokane County Prosecutor Larry Haskell said he did not seek the death penalty because of the nature of the case, which had little direct evidence linking Murry to the killing of Terry Canfield, 59; ...Lisa Canfield, 52; and 23-year-old John Constable.
In Honor of Karl Kroeber Benis, Toby
The Wordsworth circle,
2007, Volume:
38, Issue:
1/2
Journal Article
Peer reviewed
Karl's delight in stimulating, and in provoking, colleagues and students across the disciplines is in keeping with his desire, expressed in his Ecological Literary Criticism (1994) and elsewhere, "to ...make humanistic study more responsible" (1). Kroeber's distress on this score was evident at the panel on "Green Romanticism" chaired by Alan Liu at the 1992 MLA convention in New York City, when in his role as respondent Karl criticized the view that the natural world in Romantic literature is an exclusively ideological construct. Several contributions here stand in dialogue with Kroeber's work on science and ecocriticism, including Regina Hewitt's reading of property in Joanna Baillie's plays; Gillen Wood's discussion of John Constable's sky studies in light of changes in the British climate, both meteorological and social; and James McKusick's genealogy of the nightingale as European songbird and poetic trope.
