Please use this identifier to cite or link to this item: http://hdl.handle.net/11455/88229
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dc.contributor.authorShuen-shing Leeen_US
dc.date1999-8zh_TW
dc.date.accessioned2015-11-09T07:06:03Z-
dc.date.available2015-11-09T07:06:03Z-
dc.identifier.urihttp://hdl.handle.net/11455/88229-
dc.description.abstractThe paper surveys Turner's employment of indistinct forms of expression in his paintings to convey the new experience of steam power and speed, frequently in combination with the elemental forces of nature. Up to the 1830s, Turner's clear images of the sea dissolved into indistinct ones, though the elemental destructiveness of the sea persisted. Staffa, Fingal's Cave (1832) represents a breakthrough in this new direction. Its waves still project a massive energy but they are indistinct in form while the outlines of the steamship are reduced to a blur. It is noteworthy that the vagueness with which the steamship is depicted in Staffa, Fingal's Cave anticipates the archetypal form for later works such as The Fighting 'Temeraire' (1838), Peace--burial at sea (1842), and Snowstorm (1842). The study of Turner's use of steam power as a subject is further extended to Rain, Steam and Speed (1844), his sole painting of a steam locomotive. The study argues that in this particular painting, Turnerian indistinctness achieves its climactic expression in an esthetic unification of form and content, which could be called the “industrial sublime.”en_US
dc.language.isoen_USzh_TW
dc.relationIntergrams, Volume 1.zh_TW
dc.title“Indistinctness” in J. M. W. Turner's Paintings of Steam Poweren_US
dc.typeJournal Articlezh_TW
item.languageiso639-1en_US-
item.openairetypeJournal Article-
item.cerifentitytypePublications-
item.grantfulltextopen-
item.fulltextwith fulltext-
item.openairecristypehttp://purl.org/coar/resource_type/c_18cf-
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