A partir de una lectura del artículo Der Ursprung des Kunstwerkes escrito por Heidegger, se desarrolla la problemática de comprender los conceptos relaciónales de tierra y mundo. La propuesta aquí se ...sitúa desde una perspectiva existencial que liga la tierra con los conceptos de sublimidad y el mundo, comprendidos desde una apertura en la imaginación. Para articular estas ideas, el presente escrito se apoya fundamentalmente en argumentaciones de Kant, Nancy y Arendt. Lo aquí propuesto es que Heidegger buscaría dar cuenta del modo en que la desgarradura causada por la tierra en la obra de arte sublimaría la imaginación en una apertura hacia el mundo.
Beethoven the revolutionary is fading from history. Ossified by the Romantic tradition and, under the pressure of recent revision, reconsidered as conservative and prone to power worship, Beethoven's ...music has been drained of its radical essence. Yet his compositions also evoked the sonic impact of revolution – its aesthetic of natural violence and terrifying sublime – and so created an aural image of revolutionary action. Through stylistic appropriations of Luigi Cherubini and others, Beethoven imported the rhetorical tropes of French revolutionary composition to the more culturally conservative environment of Vienna. But where the music of revolutionary Paris accompanied concerted political action, the Viennese music that echoed its exhortative rhetoric played to audiences that remained politically mute. This inertia was the result of both a Viennese mode of listening that encouraged a solely internalized indulgence in revolution, and a Beethovenian musical rhetoric that both goaded and satisfied latent political radicalism. Far from rallying the public to the figurative barricades, then, the radical content of Beethoven's music actually helped satiate – and thereby stymie – the outward expression of rebellion in Vienna. This article is a bid to reaffirm the revolutionary in Beethoven.
In a digression, Heraclides of Pontus, in his dialogue Perites Apnou On the woman who stopped breathing, attributes the coining of the word philosopher to Pythagoras. Leon, tyrant of Phlius, ...impressed with the ingenuity and speech of Pythagoras, asked him what skill or sophia he possessed. In his well-known reply, Pythagoras said that he was not a sophos but a philosophos, perhaps implying, as Diogenes Laertius reports, that only the gods are wise--a clever response, so as not to arouse suspicion that he might possess a divine power, transcending Leon's political power. From the time of Pythagoras to the appearance of the Platonic Socrates in the tenth book of the Republic, the Greek world had not resolved the question of whether the sayings and writings of the philosophoi were a new kind of poetry or embodied a new kind of knowledge. The Platonic Socrates holds Homer in the highest regard as the poet who educated Greece, but whose teachings cannot be admitted in the ideal city.
This paper revisits Qian Zhongshu's translation concept of huajing and its English translations and interpretations. Under the impact of Western-centered approaches to translation studies, the rich ...and organic resources coming out of Chinese theorizing on translation have often been ignored or sidelined as being irrelevant to current translation problems. In this environment of neglect, the theoretical potential of Qian's huajing concept seems to have been overlooked. The issue becomes even more problematic when this translation-based concept is rendered into a Western language. Given the complexity of this esoteric and philosophical term, huajing has been rendered variously into English as ＂the ultimate of transmutation,＂ ＂the ideal stage of sublimity,＂ ＂the realm of transformation＂ and ＂the state of total transformation,＂ as well as (via its direct transliteration) ＂huajing.＂ Here we see the difficulty of understanding, interpreting, gaining access to this translation-based term and concept within an English context. The present study accordingly provides an analysis of Qian's account of huajing and its English translations and interpretations so as to critique these renditions. A more explicit discussion of these English translations, and of the concept of huajing, may therefore not only better enable us to appreciate Qian's conceptualization of translation, but may also pave the way for further research on this crucial and complex conceptual term in an English context. We can also better respond to the call from international academia for the reconceptualization of translation by broadening the scope of its definition via the inspiration provided by this non-Western perspective.
Morbid Conditions McGhee, J. Alexandra
The Edgar Allan Poe review,
04/2013, Volume:
14, Issue:
1
Journal Article
Peer reviewed
Open access
At first glance, Edgar Allan Poe's worldview as presented in his writings seems to deal more with experiences of uncanny horror than sublimity. However, Poe's perversity cannot simply be understood ...as calling attention to the horror of existence. Through an analysis of “The Fall of the House of Usher” (1839) and “Berenice” (1835), this essay claims that accessing the sublime experience in Poe depends on a combination of perverseness, disease, and the uncanny. Because Roderick Usher and Egaeus are able, through their monomania, to dissolve meaning in the objects around them, their contemplation of these newly unheimlich objects gives them access to the inexpressibility and ineffability of the sublime state.
I employ Poe's essay “The Imp of the Perverse,” which focuses on “perverseness as a radical, primitive, irreducible faculty or sentiment of the soul, the propensity to do wrong for the wrong's sake,” in my treatment of these stories. Although an obsession with the abyss is what drives these characters over its edge, my analysis reveals that only perverseness makes the sublime experience possible. The result is not the upward transcendence of eighteenth-century philosophers like Edmund Burke and Immanuel Kant, but rather a journey downward to a total loss of control and a destruction of the self rather than an affirmation of the individual intellect over natural forces. However, this collapse accords with the cosmology Poe sets forth inEureka, which posits that all things diffuse and radiate throughout the universe from a common source, eventually dissolving back into oneness.
This essay develops an account of the link between Kant's aesthetics and his ethics. It does so by articulating a Kantian account of moral psychology by way of aesthetic reflective judgements of ...sublimity. Since judgements of sublimity enrich the picture of a Kantian subject by forcefully revealing the unbounded power of the faculty of reason, I investigate the possibility that judgements of this kind could serve as a basis for moral motivation. The paper first shows how judgements of sublimity help a subject recognize reason's unbounded nature, and proceeds to analyse the practical effects of a subject judging itself sublime. When judgements of sublimity have as their object the unbounded and unsythesizable power of reason, they may thereby serve as the basis for both the recognition of our moral vocation, and the grounds for determining the will to act from respect for it. Since a judgement of sublimity produces for Kant the experience of an enlivening emotion and an outflowing of vital forces, the paper then develops Kant's concept of "life" motivated by a recognition of its practical orientation. In this way sublimity rather than beauty can be interpreted as symbolic hypotyposis of morality. The paper then takes up less favourable interpretations of the practical effects of self-predicated judgements of sublimity, and constructs critical responses to such positions. I conclude, following Adorno, by stressing the historical and social dimension of the capacities for both making sublime judgements, and being morally enlivened by them.
This paper is an excursion in non-representational thought. The primacy of movement charges this creative geography. Movement as sensation, thought, matter and memory crystallizes in ongoing ...assemblages (effects) we term selves and landscapes. This movement ontology is animated by a stream of thought running through Bergson, Deleuze, and Massumi, and by Ingold's temporality of landscape. Memory is vital, as past (virtual) and present (actual) coexist, pushing forward in duration, the dynamic continuation of movement and sensation. David Lynch's film, The Straight Story, offers dramatic illustration of the entanglement of movement, memory, and landscape. Landscape is emergent as relational lines of movement, an ongoing meshwork of practices and movement signatures. Alvin Straight's paced journey through Iowa on a John Deere lawn mower during autumn harvest is a road to reminiscence and reconciliation, an American sublime. Lynch's movement-images and soundscapes are sensorial undulations that illumine landscape as movement of incorporation, 'dwelling' in the moment to moment, geographies of care. The take-home message is that we are nothing more and nothing less than agents, next selves, 'passing' through. The collective trace of our 'passings' constitutes the making and remaking of place.
In music, the situational is easily associated with the amorphous, the a-linear, the static, or the pictorial. Traditionally, this anti-teleological, contemplative character was expressed in, among ...others, improvisational works, preludes, arias, and ornate cadenzas. In contemporary music, the idea of the reflexive has been increasingly shifted forward as an aesthetic program, partly as a reaction against commercial capitalism. Here, Eecke talks about music.
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