The present volume is a first attempt to chart the early modern translations of Peri hupsous, both in the literal sense of the history of its dissemination by means of editions, versions and ...translations in Latin and vernacular languages, but also in the figurative sense of its uses and transformations in the visual arts from 1500 to 1800.
In his Enquiry --which has been described as "certainly on of the most important aesthetic documents that eighteenth -century England produced" --the young Burke provided a systematic analysis of the ...'sublime' and the 'beautiful,' together with a distinctive terminology which served to express certain facets of the changing sensibility of his time. The introduction traces the main sources of Burke's ideas and establishes the nature of his originality. The largest section of the editor's introduction, however, examines the influence of the Enquiry. Major writers like Johnson, Wordsworth and Thomas Hardy, painters such as Fuseli and Mortimer, and critics such as Diderot, Lessing and Kant, as well as many other minor figures, recognized Burke's new insights, and in varying degrees assimilated them. The second edition, revised by Burke himself, provides the copy-text, including changes between the first and second editions.
Is the Sublime Sustainable? considers the contemporary relevance of the sublime, introducing the key points of debate around the topic while opening new avenues for future inquiry, especially through ...its comparative aesthetics approach.
What is the force in art, C. Stephen Jaeger asks, that can enter our consciousness, inspire admiration or imitation, carry a reader or viewer from the world as it is to a world more sublime? We have ...long recognized the power of individuals to lead or enchant by the force of personal charisma-and indeed, in his award-winningEnvy of Angels, Jaeger himself brilliantly parsed the ability of charismatic teachers to shape the world of medieval learning. InEnchantment, he turns his attention to a sweeping and multifaceted exploration of the charisma not of individuals but of art. For Jaeger, the charisma of the visual arts, literature, and film functions by creating an exalted semblance of life, a realm of beauty, sublime emotions, heroic motives and deeds, godlike bodies and actions, and superhuman abilities, so as to dazzle the humbled spectator and lift him or her up into the place so represented. Charismatic art makes us want to live in the higher world that it depicts, to behave like its heroes and heroines, and to think and act according to their values. It temporarily weakens individual will and rational critical thought. It brings us into a state of enchantment. Ranging widely across periods and genres,Enchantmentinvestigates the charismatic effect of an ancient statue of Apollo on the poet Rilke, of the painter Dürer's self-portrayal as a figure of Christ-like magnificence, of a numinous Odysseus washed ashore on Phaeacia, and of the black-and-white projection of Fred Astaire dancing across the Depression-era movie screen. From the tattoos on the face of a Maori tribesman to the haunting visage of Charlotte Rampling in a film by Woody Allen, Jaeger's extraordinary book explores the dichotomies of reality and illusion, life and art that are fundamental to both cultic and aesthetic experience.
In this book, Robert Doran offers the first in-depth treatment of the major theories of the sublime, from the ancient Greek treatise On the Sublime (attributed to 'Longinus') and its reception in ...early modern literary theory to the philosophical accounts of Burke and Kant. Doran explains how and why the sublime became a key concept of modern thought and shows how the various theories of sublimity are united by a common structure - the paradoxical experience of being at once overwhelmed and exalted - and a common concern: the preservation of a notion of transcendence in the face of the secularization of modern culture. Combining intellectual history with literary theory and philosophical analysis, his book provides a new, searching and multilayered account of a concept that continues to stimulate thought about our responses to art, nature and human events.
Neste artigo, forneço uma leitura da peça Maria Stuart, de Friedrich Schiller, a partir da noção de liberdade imanente ao seu pensamento. Tal noção, apesar de ter raízes em ideais kantianos, é ...original em relação à do filósofo predecessor de Schiller. Schiller argumenta que o sublime, efeito estético de uma tragédia, tem capacidade de influenciar a dimensão ética da vida humana ao nos fazer livres. Stuart, protagonista da peça, é a representação dessa noção shcilleriana de liberdade.
At the turn of the nineteenth and twentieth centuries, through the eurhythmics of Émile Jaques-Dalcroze, a new relationship between music and movement was established, which closely involved dance ...and architecture. Our emphasis, here, will be put on the transformations related to space, with regard to the stage reform by Adolphe Appia, Dalcroze’s friend and collaborator. It is through Appia’s drawings, the Rhythmic Spaces, made between 1909 and 1911, that the connection between living movement and architecture will be approached. In particular, one calls in question the status of straight lines, horizontal and vertical, of which the staircases, on the drawings, are emblematic. These lines, contrasting with the curving and serpentines lines that mark the influence of the dancing movement in the paintings from that period, must be understood with respect to the Dalcrozian conception of rhythmic feeling. Aliveness, for him, which is not to be separated from the relationship to measure - itself alive -, can be acquired by varied and complex exercises of marching within the framework of rhythmic education. Through architecture arises a musical conception of space in rupture with the perspectival conception of pictural space, as the former doesn’t dissociate any more mobility and immobility, aliveness and inertia, grace and gravity.
Updating existing treatments of the sublime in the eighteenth century, this book addresses the nature of the sublime experience itself and the functions that experience has played, and continues to ...play, within aesthetic discourse.
Stephen Zepke tracks the sublime art movement from its beginnings in Kant to its flowering in the late 20th and early 21st centuries. He shows that the idea of sublime art waxes and wanes in the work ...of Jean-François Lyotard, Gilles Deleuze and Felix Guattari, Jacques Derrida, Jacques Rancière and the recent Speculative Realism movement. With it, a visionary politics of art seeks to give it the most creative power possible: the power to overcome our conditions and embrace the unknown.
O presente artigo toma como ponto de partida as reflexões decoloniais realizadas por Maria da Glória de Oliveira e visa tematizar como contemporaneamente os campos da teoria da história e da história ...da historiografia no Brasil são confrontados a responderem às linguagens do trauma, do luto e da cura que desafiam os cânones disciplinares. Em um primeiro momento, procuro situar a especificidade da discussão promovida por Maria da Glória de Oliveira em meio a reflexões (in)disciplinares que tematizam as historicidades espectrais. Em um segundo momento, defino o que estou categorizando como linguagens do trauma, do luto e da cura, que se inscrevem enquanto desafios à domesticação imposta pela historiografia disciplinar. Por fim, propondo tensionar os limites do paradigma correspondentista da representação inspirado pelas intervenções de Oliveira, argumento como as possibilidades de subjetivação e abertura para a diferença em nossos contextos de ensino/aprendizagem nas Universidades públicas são atravessadas pelas referidas linguagens, que ensejam a rearticulação de afetos e a abertura para experiências estéticas disruptivas, como a do sublime decolonial.
This article departs from decolonial reflections developed by Maria da Glória de Oliveira and pursues to thematize how, contemporaneously, the fields of theory of history and the history of historiography in Brazil are impelled to respond to the languages of trauma, grieving, and healing that challenge disciplinary canons. At first, it situates the specificity of the discussion promoted by Maria da Glória de Oliveira amongst the (in)disciplinary reflections that thematize spectral historicities. In a second moment, it defines what is categorized as languages of trauma, grieving, and healing, which are inscribed as challenges to the domestication imposed by disciplinary historiography. Furthermore, it aims to defy the paradigm of correspondent representation inspired by Oliveira's proposal, since it argues how the possibilities of subjectivation and openness to difference in our teaching/learning contexts in Brazilian public universities are crossed by the referred languages, which invites the re-articulation of affections and the display of disruptive aesthetic experiences, such as the decolonial sublime.
