John Keats and the Sensevil Sublime Narayan Hore, Shouvik
Transcript: An e-Journal of Literary and Cultural Studies,
12/2022, Volume:
2, Issue:
2
Journal Article
Peer reviewed
Open access
This essay is divided into two sections. In the first, I argue the conditions for the Keatsean Sensevil Sublime, drawing upon adequate resources from political (Hobbesian) and aesthetic categories ...(Longinus, Edmund Burke and Immanuel Kant) to showcase the expansions and limitations of this Sublimity. A close-reading of “This Living hand, now warm and capable” (Written approximately in December, 1819, published posthumously, 1898) will enhance the literariness of my argument. Gradual difference, and deference from the ‘sensible’, the most recognizable Romantic characteristic of Keatsean poetry, is observed when the agencies of comprehension, ideological subjectiveness and moral superiority are conflated with Burkean, psycho-spiritual terror and its Longinian equivalent in simplicity, nobility and rhetoric. In the final section, the aforementioned sublime, evolving within putrefying sensibility against the ideological implications of the Wordsworthian egotistical sublime through de-personification of the ego and its somatocentric repositioning, shall be utilized in unearthing the potential of Keats’s less-researched sensevil sonnet, “Why did I laugh tonight? No voice can tell”, terminating in the generalization of such features and its specific contribution to the larger Romantic repository of the Keatsean sublime vis-à-vis Wordsworth.
한국 패션디자이너 작품에 나타난 여성적 숭고의 특성 지정숙; Jeong Sook Ji; 이예영 ...
The Research Journal of the Costume Culture,
12/2022, Volume:
30, Issue:
6
Journal Article
Open access
Contemporary fashion research has paid increasing attention to the sublimity in the context of postmodernism. Sublimity is considered essential in contemporary fashion design as it arouses complex ...emotions which verbal expression cannot describe. Therefore, contemporary fashion designs need to be interpreted in terms of the sublimity. Through a detailed review of literature, the present study discusses Kantian and Lyotardian sublimity as main theories representing conventional and cotemporary concepts of sublimity. This paper selected five Korean fashion designers who won the prize of Samsung Design Fund from 2006 to 2019 and actively introduce their works every year. Images were collected to analyze their designs introduced from 2018 S/S to 2019F/W at their website. In addition, formative and color characteristics were analyzed to identify the changing features of s sublimity. Major findings of analyses are as follows. First, all designers’ collections reflected both male and female sublimity with the respect to its formative characteristics. Color characteristics of sublimity indicated that Jeong, Wook Jun’s collections represented features of male sublimity and other designers works showed elements of female sublimity. Essentially, the typical contemporary concept of the sublimity was found in the designs of Seo, Hye In. Consequently, female sublimity is more inclusive than male sublimity, while being opened to otherness.
Mobilizing Herbert Marcuse's argument that modern leisure has been desublimated, which means it represses creativity, imagination and freedom, this article explores the idea that some forms of ...leisure can be paralogical. This is the suggestion that leisure can be a way of contradicting the legislating rules of consumer culture despite existing within (and therefore being part of) its language game. Using the example of caving, together with Peter Sloterdijk's celebration of anthropotechnics which is a term he uses to refer to the labour of self-shaping and the practice of self-creation, the article reveals how cavers might disrupt and challenge the normal temporal, spatial and existential orders found in present modernity and caving. Beginning with a discussion that challenges both the old language of caving and figures of control and authority who created it, an attempt is made to reinterpret caves as sites of potential resistance as they are used by some people to find an unstable state known as the differend. The article concludes with the observation that seeking sublimation in the natural underground is in the end all about experiencing feelings of sublimity which occur only after the differend has been located.
Kant y la tercera crítica Tillería Aqueveque, Leopoldo
Prometeica (Mar del Plata),
03/2023
26
Journal Article
Peer reviewed
Open access
El artículo pretende desmontar una vieja contienda habida en la tercera Crítica entre una estética y una filosofía del arte. Tal contienda mostraría a la de Kant como una estética en conflicto. Cual ...Jano bifronte, el filósofo de Königsberg presentará en la última Crítica una Crítica de la facultad de juzgar estética que va y viene entre una estética filosófica y una metafísica del arte, y que terminará convirtiéndose en una propedéutica para las filosofías del arte del Romanticismo. A partir de la crítica de Derrida a lo colosal kantiano —comentario que permitiría conjeturar la presencia en la primera parte de la tercera Crítica de un olvidado arte sublime—, se plantea como hipótesis la posibilidad de una inacabada y obscura arquitectónica de la Crítica de la facultad de juzgar estética, donde la condición bastarda de lo sublime evidenciaría una cuestión no deducida trascendentalmente, pero sí experimentada por nuestras facultades del conocer, esto es, una conmoción suprasensible determinada por una suerte de principio de contra-finalidad. De este modo, el problema de lo sublime, cuya expresión de lo colosal está lejos de calificar como un caso del mundo del arte, revelaría al Kant de la tercera Crítica preso en el conflicto aparentemente irresoluble entre razón y sentimiento.
This empirical study examines how philosophical work on the sublime relates to contemporary psychological work on awe. We operationalized several aspects of the sublime drawing from prominent ...philosophical theories and analyzed them in relation to three different measures of awe: the modified Differential Emotions Scale (mDES), the awe sub-scale of the Dispositional Positive Emotion Scale (DPES), and the Awe Experience Scale (AWE-S). We carried out an Exploratory Factor Analysis on our items on the sublime. We found high correlations between these items and the measures of awe, especially with the self-loss and connectedness dimensions of the AWE-S. By operationalizing aspects of the sublime drawn from influential philosophical theories and comparing them with psychological measures of awe, we find a large degree of overlap between awe and the sublime, suggesting that these two literatures could inform one another.
Philosophies of aesthetics have posited that experience of the sublime-commonly but not exclusively derived from scenes of natural grandeur-is distinct from that of beauty and is a counterpoint to ...it. We wanted to chart the pattern of brain activity which correlates with the declared intensity of experience of the sublime, and to learn whether it differs from the pattern that correlates with the experience of beauty, reported in our previous studies (e.g., Ishizu and Zeki, 2011). 21 subjects participated in a functional magnetic resonance imaging experiment. Prior to the experiment, they viewed pictures of landscapes, which they rated on a scale of 1-5, with 5 being the most sublime and 1 being the least. This allowed us to select, for each subject, five sets of stimuli-from ones experienced as very sublime to those experienced as not at all sublime-which subjects viewed and re-rated in the scanner while their brain activity was imaged. The results revealed a distinctly different pattern of brain activity from that obtained with the experience of beauty, with none of the areas active with the latter experience also active during experience of the sublime. Sublime and beautiful experiences thus appear to engage separate and distinct brain systems.
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