Duval-Carrié's Sublimity Through Genre Construction

Edouard Duval-Carrié’s exhibit is a phenomenal representation of how intertextuality is translated into multimedia art. It excels in Longinus’ definition of the sublime but raises interesting questions about Devitt’s concepts of genre. According to Longinus, one of the key elements of rhetorical sublimity is visualization. Rhetorical visualization is most effective when it accurately involves engaging, factual arguments. Undoubtedly, Duval-Carrié masters this concept because of the complexity of historical truth that brings his works of art together, including the colors utilized, artifacts displayed, religious/mythical connections, and so forth. For example, in his series of the Caribbean mythical creature Soucouyant, Duval-Carrié depicts the vampire-like creature in different “moods” through colors and uses marine objects to symbolize Caribbean life as well as the sea that represents exportations of goods and slaves alike. 

Duval-Carrié’s sublimity is also highlighted by his success. Longinus says, “When people of different…ways of life…all agree about something, the judgment and assent of so many distinct voices lends strength and irrefutability to the conviction that they admiration is rightly directed.” (350). Since the art exhibit is based on Haiti’s relationship with slavery, particularly in North Florida, the context of the art is heavily segmented. However, Duval-Carrié’s use of multimedia is able to translate and impact people who have not personally experienced the historical context. 

Although he fits various constructs of the sublime, Duval-Carrié’s work raises questions about who constitutes a genre. The exhibit clearly exposes the genre of multimedia and how it can function artistically, rhetorically, and thematically, but it also challenges the audience’s construction of genre. This is particularly done with household items typically found in slavemasters’ homes. In his essay, Devitt mentions that genres change historically as social systems change. In the art exhibit, there was a section that described how African culture was ignored and European and Asian culture was displayed around the house as a way to limit African involvement with American culture. The historical artifacts of fine china and decor can fit into the genre of “high class” and European/Asian history, but the audience that Duval-Carrié constructs with the artistic and historical context he displays tells a daunting and horrific side to the artifacts. Since situations, according to Devitt, are a semiotic structure, Duval-Carrié is able to do this by challenging the audience rather than his work…or possibly both simultaneously.