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08687_Field_TCGG T452.txt
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1996-04-10
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It is plain that there was in liturgy precisely the same drive
towards cinematic reconstruction by visual segmentation that
we have seen in Huizinga’s story of The Waning of the Middle
Ages and in the Italian princes and their great Hollywood sets
of antiquity. And segmentation equals sentimentality. The
isolation of the sense of sight quickly led to the isolation of one
emotion from another, which is sentimentality. “Sophistication”
today is a negative version of sentimentality, in which
conventionally appropriate feelings are simply anesthetized. But
the due interplay of the emotions is not unrelated to
synesthesia or interplay of the senses. So that Huizinga is quite
justified in opening his story of the later Middle Ages as a
period of emotional violence and decay, as well as a period of
intense visual stress. Separation of the senses would be
sensuality, as the separation of the emotions is sentimentality.
Bouyer nowhere refers to the operation of typography in