Contemporary Sublime Research Papers - Academia.edu (original) (raw)

Para Gilles Deleuze, o pensamento é indissociável de uma experimentação ou experiência que o force a pensar; de um aprendizado através da constituição de problemas; e de um ato de criação que atualize as Ideias em obras de arte ou conceitos. A filosofia e a arte são disciplinas de pensamento distintas, mas que tem em comum a remissão a modos de sentir. Queremos problematizar neste artigo o quanto a sensibilidade, entendida no sentido de uma matriz do pensamento – tal como propõe Deleuze – remete a uma apropriação de certos aspectos da terceira Crítica de Immanuel Kant. Em primeiro, uma apropriação do conceito de sublime enquanto violência que força aos limites das faculdades; em segundo, uma crítica do senso comum e da concórdia das faculdades; em terceiro, o caráter estético das ideias, tal como aparece no momento do gênio kantiano, pensado por Deleuze como ato de criação. Sob esses três eixos, poderemos discutir a fecundidade de um intercâmbio entre filosofia e arte no que diz res...

- by André Vinícius
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- Philosophy, Gilles Deleuze, The Sublime, Kantian Sublime

Sublim, merak uyandıran, etkileyici, şaşkınlık veren anlamlarında kullanılan bir kelime olmakla beraber, felsefe ve sanatta sublim olgusu üzerinde yapılan tartışmalar göz önüne alındığında sublim içerisinde, kelime anlamının ötesinde gösterenlerin barındığı söylenebilir. Bu makale, Edmund Burke ve Kant'ın temelini oluşturduğu sanat ve estetikte sublim olgusunu, günümüz filozoflarıyla tartışacak ve güncel sanat eserleriyle örneklendirecektir. Bugün; eğer postmodern zamanlar ise, “postmodernite içinde sublim kavramından söz edilebilir mi?”; sorusunu sorarak, günümüzde sublimin tanımları üzerinde durulacak, bu bağlamda sublim estetiği ve postmodernizm üzerine yazılarıyla ünlü; filozof Jean François Lyotard'ın günümüzde sublim ile ilgili savları incelenerek bunların ötesinde ne gibi okumalar ve tanımlamalarda bulunabilineceği tartışılacaktır.

- by Marcelo Jaume
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- Aesthetics, Contemporary Sublime, Theory of Sublime

Essay in Julia Czerniak and George Hargreaves, editors, Large Parks

- by Eugenie Shinkle
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- Video Games, Boredom, Contemporary Sublime
- by Heleen De Boever
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- Literature, Postmodernism, The Sublime, Contemporary Sublime

FROM THE BACK COVER: What is the essential nature of meaning? . . . . . This book answers by examining interpretive theories from the past and present. It finds that an historical struggle with meaning has been underway since the Reformation, a struggle that reaches crisis proportions in the 20th century. On the one hand, this crisis is mollified by Heidegger's hermeneutical phenomenology, which argues that we are always already in a meaningful relationship to the objects of the world. On the other hand, this crisis is exacerbated when phenomenology, structuralism, and aesthetic theory directly make meaning into an object of study. . . . . . . . . These historical developments culminate with the psychoanalyst Jacques Lacan, whose non-hermeneutical phenomenology delimits a cause of meaning said to be closely linked to the core of subjectivity. Intriguingly, Lacan's work reveals meaning to be sexual in nature. By integrating his notion of sexual difference with his work in discourse theory and topology, this book demonstrates how the subject's struggle with meaning can be suspended.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GENERAL DESCRIPTION: Broadly speaking, the majority of books on Jacques Lacan focus on the earlier periods of his career. They also tend to target the psychoanalytic clinical community, or else discuss his work in various political, social, and cultural contexts. But in almost all cases these books refrain from a detailed exegesis of his actual texts. They instead prefer to comment on his theoretical apparatus as a whole before turning to its practical implications. . . . . . This book positions itself against this grain. Firstly, it closely analyzes some half-dozen key Lacanian texts. This analysis is organized under a single thematic – the question of meaning – in order to advance the reader's understanding of the trajectory of Lacan's thought across his entire career, as well as to promote the book's thesis that the field of meaning can be suspended. Accordingly, an initial chapter takes up the hermeneutical tradition from Flacius onward. This is then supplemented by a chapter which surveys phenomenological, structuralist and aesthetic theories of meaning and their differing methods of textual analysis. Together these two chapters provide a unique context for the sustained analysis of Lacan's texts which begins in the third chapter, an analysis that forms the bulk of the book's content. This contextualization potentially widens the book's appeal to any scholar wishing to explore his relationship to those textual objects he interacts with on a daily basis. And because this book assumes the reader has little to no familiarity with Lacan, the reader will find patient explanations of the basics of his theories before slowly being led up to the more difficult theories of his late years. Again the argument is that Lacan has something to offer all scholars. His work is not just reserved for psychoanalysts. . . . . . It is with his late theories that the serious student of Lacan will find the book's most original contribution. For in the fourth chapter a detailed account is provided of how Lacan derived his infamous formulae of sexuation from Aristotelian logic. These formulae are then extensively discussed against the backdrop of interpretive theory and textual analysis, showing how these formulae capture much more than just the difference between the sexes. Strikingly, this difference is also found to run through meaning itself, something the final chapter aims to demonstrate. It does this by amalgamating three key components of late-Lacan: sexuation, discourse theory and his use of topological spaces. This amalgamation is a first in the literature. But this amalgamation is not just useful in demonstrating the book's thesis. It further suggests how seemingly divergent aspects of late-Lacanian theory can be made to work together.

- by William J. Urban
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- Discourse Analysis, History of Linguistics, Philology, Languages
- by Filippo Cameli
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- Edmund Burke, The Sublime, Heavy Metal Music, Kantian Sublime

This hyperlink takes you to the complete text of LACAN AND MEANING, Chapter 3: Lacan on Meaning

- by William J. Urban
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- Discourse Analysis, Psychoanalysis, Gender Studies, Philosophy

This article reviews the notion of the sublime as it is regarded in a few of the most influential texts in Western philosophy. Modern sublime that is elaborated in the works of Edmund Burke and Kant is influenced by the ancient text Peri Hypsous. Later, Lyotard takes up the sublime to interpret Modern and Postmodern visual art. The sublime is necessarily linked to art. It is the notion that presents existential (spiritual) questions such as existence of God and meaning of human life. Art has been the realm where such questions are tackled. Sublime is the artistic way to spirituality, and works of Barnett Newman and Mark Rothko display that.

- by Jim Clarke
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- Scottish Literature, Artificial Intelligence, Utopian Studies, Edmund Burke

Il saggio ripercorre alcune declinazioni contemporanee della categoria del sublime all'interno della cultura americana, analizzando diversi mezzi espressivi (pittura, fotografia, cinema). A partire dalla poetica di alcuni artisti legati all'espressionismo astratto (Rothko, Newman) e passando attraverso l'analisi critica del linguaggio fotografico e delle trasformazioni artistiche approfondite da Susan Sontag negli anni Sessanta e Settanta, la ricerca si conclude con la definizione di "stile trascendentale" proposta da Paul Schrader in un suo celebre testo teorico sul cinema del 1972. In questi diversi momenti dell'esperienza estetica contemporanea, centrale è la definizione di una nuova posizione e di un ruolo inedito da parte del fruitore dell'opera d'arte.
Pubblicato in: Estetica della fruizione, a cura di M. Mazzocut-Mis, Lupetti , Milano 2008, pp. 385-424.

- by Michele Bertolini
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- Photography, Painting, Cinema, Susan Sontag

"ABSTRACT:
This study assumes the subject's pursuit of meaning is generally incapacitating and should be suspended. It aims to demonstrate how such a suspension is theoretically accomplished by utilizing Lacan's formulae of sexuation integrated with his work in discourse theory and topology.
Part I places this study into context by examining scholarship from the established fields of hermeneutics, phenomenology, (post)structuralism, aesthetic theory and psychoanalysis in order to extract out their respective theory of meaning. These theories reveal that an historical struggle with meaning has been underway since the Reformation and reaches near crisis proportions in the 20th century. On the one hand this crisis is mollified by the rise of Heideggerian-Gadamerian hermeneutical phenomenology which questions traditional epistemological approaches to the text using a new ontological conceptualization of meaning and a conscious rejection of methodology. On the other hand this crisis is exacerbated when the ubiquitous nature of meaning is itself challenged by (post)structuralism's discovery of the signifier which inscribes a limit to meaning, and by the domains of sense and nonsense newly opened up by aesthetic theory. These historical developments culminate in the field of psychoanalysis which most consequentially delimits a cause of meaning said to be closely linked to the core of subjectivity.
Part II extends these findings by rigorously constructing out of the Lacanian sexuated formulae a decidedly non-hermeneutical phenomenological approach useful in demonstrating the sexual nature of meaning. Explicated in their static state by way of an account of their original derivation from the Aristotelian logical square, it is argued that these four formulae are relevant to basic concerns of textual theory inclusive of the hermeneutical circle of meaning. These formulae are then set into motion by integrating them with Lacan's four discourses to demonstrate the breakdown of meaning. Finally, the cuts and sutures of two-dimensional space that is topology as set down in L'étourdit are performed to confirm how the very field of meaning is ultimately suspended from a nonsensical singular point known in Lacanian psychoanalysis as objet a. The contention is that by occupying this point the subject frees himself from the debilitating grip of meaning."

- by William J. Urban
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- Discourse Analysis, History of Linguistics, Philology, Psychoanalysis

The Preface and Introduction to my anthology, The Sublime Reader (2019).

- by Robert R Clewis
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- Feminist Theory, Romanticism, Art Theory, Philosophy of Art

Viewing the Earth from space has often prompted astronauts to report overwhelming emotion and feelings of identification with humankind and the planet as a whole. In this article, we explore this experience, known as the "overview effect." We examine astronaut accounts of the overview effect and suggest existing psychological constructs, such as awe and self-transcendent experience, that might contribute to a psychological understanding of this experience. We argue that the overview effect suggests directions for future research on altered states of consciousness in new contexts, with potential implications for better understanding well-being in isolated, confined, extreme (ICE) environments such as space flight.

- by David Bryce Yaden and +1
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- Positive Psychology, Space Sciences, Altered States of Consciousness, Astronautics

This paper discusses how the forces of postmodernity and technology combine to create a contemporary version of the romantic sublime, and how this new ‘technological sublime’ figures in Don DeLillo’s novel White Noise. The novel simultaneously depicts and satirizes a postmodern world in which the forces of capitalism, consumer culture, and technology determine people’s existences to the extent that they even invade formerly personal spheres like spirituality, dreams, and self-images. I argue that, in such a world, technology has replaced nature as the primary source of the sublime experience. Moreover, the overwhelming power of natural phenomena has been dwarfed by the complexity and scale of today’s technological networks and globalized system. For theoretical background I draw on the classic accounts of the sublime by Immanuel Kant and Edmund Burke, accounts of postmodernity and contemporary sublimity by Frederic Jameson, Joseph Tabbi, and Jean-François Lyotard, as well as scholarship on DeLillo in general and White Noise in particular.

- by Beniamino Fortis Levi
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- Aesthetics, Art, Contemporary Art, Theodor Adorno

Article in William Saunders, editor, Richard Haag. Bloedel Reserve and Gas Works Park. Princeton Architectural Press

This talk was given at the Toronto Psychoanalytic Society on July 13, 2014.

- by William J. Urban
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- Discourse Analysis, Psychoanalysis, Mathematics, Applied Mathematics
- by Johannes Grave
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- Aesthetics, Art Theory, Jean-Luc Nancy, Edmund Burke
- by Sophie McHiggins
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- Edmund Burke, Immanuel Kant, The Sublime, Abstract Painting

This paper explores the emotional characteristics of our experiences of the sublime, seeking a plausible way to explain the combination of attraction and fear (or what is ultimately identified as feelings of ‘self-negation’). Several possible explanations are introduced and evaluated before a new model is proposed based on imaginative identification. On this model, the observer fluctuates between imagined physical interactions with the sublime object (explaining the feelings of self-negation) and imagined possession of qualities analogous to those possessed by the sublime object (explaining the feelings of attraction).

- by Tom Cochrane
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- Emotion, The Sublime, Analytic Aesthetics, Negative Emotions

Este artículo pretende desarrollar un trabajo de des-ocultación de la homopoética de Vicente Aleixandre, analizando símbolos, visiones e imágenes visionarias como expresiones de un homoerotismo, donde las experiencias sublimes predominan y definen a los amantes líricos homosexuales y el ambiente cósmico, contextual e íntimo. Para esta lectura hermenéutica, se analizan los poemas: “Se querían”, “Mano entregada” y “No busques, no”. Se concluye que lo sublime participa significativamente en la consolidación de la homopoética aleixandrina, primero, al manifestarse como ese intento por convertir elementos y vivencias cotidianas homoeróticas en un algo que eleva y transforma al sujeto lírico por medio de la imaginación; segundo, al definir, como recursos de homotextualización, el juego de luces y sombras, la ambigüedad, el hermetismo, el desdoblamiento, los límites de lo macrocósmico y lo microcósmico, los simbolismos de la sangre, las imágenes visionarias surrealistas, las visiones fenomenológicas e imaginativas, una conciencia ecológica, la generación de sinestesias, la fragmentación de la identidad y confesiones homoeróticas, la antífrasis y la lítote.

Ce mémoire s’intéresse aux pratiques sculpturales et installatives actuelles à l’échelle miniature, en lien avec des formes de démesures associées à la globalisation et à l’hypermodernité. Partant du postulat que l’ère actuelle, caractérisée par d’effarants changements d’échelle, prolifère en formes de démesure susceptibles de rendre l’humain sans cesse plus petit dans un espace quotidien qui ne cesse de s’étendre, de se densifier et de se complexifier, l’étude souligne l’importance, dans la sphère artistique actuelle, d’une tendance apparemment toute contraire à cette expansion globalisée : la miniaturisation. (...)

- by Marjolaine Arpin
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- Digital Humanities, Globalization, Installation Art, Contemporary Art

RESUMO Para Gilles Deleuze, o pensamento é indissociável de uma experimentação ou experiência que o force a pensar; de um aprendizado através da constituição de problemas; e de um ato de criação que atualize as Ideias em obras de arte ou conceitos. A filosofia e a arte são disciplinas de pensamento distintas, mas que tem em comum a remissão a modos de sentir. Queremos problematizar neste artigo o quanto a sensibilidade, entendida no sentido de uma matriz do pensamento – tal como propõe Deleuze – remete a uma apropriação de certos aspectos da terceira Crítica de Immanuel Kant. Em primeiro, uma apropriação do conceito de sublime enquanto violência que força aos limites das faculdades; em segundo, uma crítica do senso comum e da concórdia das faculdades; em terceiro, o caráter estético das ideias, tal como aparece no momento do gênio kantiano, pensado por Deleuze como ato de criação. Sob esses três eixos, poderemos discutir a fecundidade de um intercâmbio entre filosofia e arte no que diz respeito a questões de estilo e método, ante os problemas vitais de nossa existência, problemas que ambas enfrentam. A estética, aparece-nos nesse sentido, à primeira vista como uma espécie de " organon " , ou instrumento do pensamento, mas, para além disso, a experiência estética (como instância da experiência comum entre a arte e a filosofia) seria considerada como heterogênese do pensamento, que já não diz respeito a uma " representação " (moral), mas a diferenças no sensível que escapam a fixação em percepções ordinárias. Palavras-chave: Empirismo transcendental; experiência estética; sublime; pedagogia dos sentidos. RÉSUMÉ Pour Gilles Deleuze la penseé est inséparable de une experimentacion ou expérience que vous oblige à penser ; de une apprentissage par la constituition de problèmes ; de une acte de création que actualize des Idées dans les ouvres d " art ou des concepts. La philosophie et l " art sont des différentes disciplines de la pensée, mais ils ont en commun la référence à des manières de sentir. Nous voulons problèmatizer de cet article dans quelle mesure la sensibilité, compris comme une matrice de la penseé – comme propose Deleuze – fait référence à une appropriation de certains aspects du troisième Critique d " Immanuel Kant. En premier, une appropriation du concept du sublime tandis que la violence qui force les limites des facultés ; en second, une critique du sens commun et de la concorde des facultés; en troisième, l " caractère esthétique des idées, tel qui " il

- by André Vinícius
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- Gilles Deleuze, The Sublime, Kantian Sublime, Educação Estética
- by Natasha Luna Málaga
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- Immanuel Kant, The Sublime, Kantian Sublime, Contemporary Sublime

How can The Stanley Parable be understood as an artwork that is “elevated in structure” acc. Longinus’ conception of the Sublime? Many of the rhetorical effects employed in The Stanley Parable can be traced back to the rhetorical device of the ‘apostrophè’. When The Stanley Parable’s narrator turns speech away from its diegesis and towards the player it moves beyond an allegorical narrative of work and play toward the sublime effect of enargeia: i.e. to a vivid and distinct perception of elevated wonder and amazement. This article will trace adaptations of the rhetorical figure of the apostrophè to argue that digital games, like other media, show rhetoric that is in many ways consistent with early modern analyses of the sublime experience of art. Applying theories of Longinus and the early modern appropriation of apostrophè to modern digital play serves to broaden and develop these concepts within cultural studies.

- by Lars de Wildt
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- Game studies, Video Games, Classical rhetoric, The Sublime

Early in 2016, russiaworks.ru, a Russian team of journalists and filmmakers specializing in drone photography of war-torn Syria, released a video featuring Homs, a city almost completely destroyed by years of fighting. Following its initial appearance on the Russian State Television, the video went viral on the Internet, alongside a number of similar drone footage created by russiaworks.ru. The videos combine the aesthetics of computer games and action blockbusters, of military surveillance and ruins, of distance and proximity, of documentation and entertainment. Through the close analysis of Internet-based videos and the team’s website, this chapter argues that the videos evince a new aesthetics of the aerial view imbued with a variety of political agendas and geared towards eliciting affective responses.

- by László Munteán
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- Visual Culture, Urban Studies, Aesthetics and Politics, Urban Ruins
- by Vijay Kumar Roy
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- Comparative Religion, Comparative Literature, English Literature, Literature

During his American exile in the period of World War II, Stefan Wolpe composed an epic piano work called Battlepiece. Though the piece includes exceptionally chaotic passages, it is counterbalanced by order and rigorous organization. The present article investigates these features both in their strictly material connotation and in their extra-musical meaning(s). Battlepiece is presented as a musical “metaphor” that relates to the broad imagery of modern warfare and to Wolpe’s ethical concerns (how this work embodies and resists the message of destruction and the suffering of emigration); it also makes references to the realm of visual art. In Battlepiece we glimpse the different aesthetic-existential meanings that the composer and the communities around him have attributed to the dialectical tension between chaos and integration during the period between the two world wars, which was characterized by the rise of totalitarian regimes. The overall meaning of Battlepiece, both intra-musical and extra-musical, has to do with the modern sublime. This article discusses Wolpe’s own statements, passages from the published score, the Peer Musikverlag (1995) critical edition, and preparatory material from the Wolpe Collection in the Paul Sacher Foundation in Basel.

- by Carlo Bianchi
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- Jewish Studies, Music and Politics, Twentieth-century Music, Jewish Music

The artist Mike Kelley's work concepts are borrowed from historical facts, cultural phenomenas and psychoanalysis. Just like a conceptual artist Mike Kelley transforms ideas to objects. He writes texts and poems, he deals with caricature,... more

- by Simge Peker
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- Contemporary Art, Sigmund Freud, Idealization, Voodoo

An essay on Hart Crane’s poetry in relation to the emergent Anthropocene and the daemonic sublime.

- by Robert Oventile
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- American Literature, American Studies, Literature, The Sublime
- by Neli Dobreva
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- Comparative Literature, Film Studies, Ordinary People, Contemporary Sublime

A review of Harold Bloom's Possessed by Memory

- by Robert Oventile
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- American Literature, English Literature, Literature, Shakespeare

RESUMO: Aproximar conceitos genealógicos da arte com produções atuais pressupõe a possibilidade de compreender e apreender uma pluralidade efetiva de obras, independentes de serem objetos contemporâneos históricos ou de pertencer a uma história efetiva, cultural ou estritamente ocidental. Essa aproximação nesse artigo se faz através de uma breve análise de um jovem e contemporâneo artista chinês sob a antiga perspectiva conceitual do Sublime estético, categoria que esteve no centro das investigações e teorias estéticas ao longo de toda segunda metade do século XVIII.
PALAVRAS-CHAVE: Estética, Sublime, Arte Contemporânea / ABSTRACT: To approach genealogical concepts of art with current productions presupposes a possibility of understanding and collecting a plurality of effective actions, being in fact contemporary historical acts or belonging to an actual, cultural or strictly Western history. This study is a long-a-long analysis of the year and the year in the eighteenth century.
KEY WORDS: Aesthetics, Sublime, Contemporary Art

- by Thiane Nunes
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- Aesthetics, Art Theory, Contemporary Art, Chinese Art

Amanda du Preez the contemporary sublime and the culture of extremes: parkour and finding the freedom of the city biography Amanda du Preez completed her Doctoral studies at the University of South Africa in 2002 with the title Gendered Bodies and New Technologies. The thesis has one founding premise, namely that embodiment constitutes a non-negotiable prerequisite for human life. Over the past 15 years she has lectured at the University of Pretoria, University of South Africa, the Pretoria Technikon, and the Open Window Art Academy, on subjects ranging from Art History, Visual Communication, and Art Therapy to Open and Distance Learning. She is currently a Senior Lecturer at the University of Pretoria, in the Department of Visual Arts, and teaches Visual Culture and Art History. In 2005 she co-authored South African Visual Culture with J. van Eeden (Van Schaik: Pretoria). The following publications are forthcoming: Gendered Bodies and New Technologies: Rethinking Embodiment in a Cyber Era (Unisa Press) and Taking a Hard Look: Gender and Visual Culture (Cambridge Scholars Press). Her field of expertise includes gender and feminist theories, virtual and cyber culture, bio-politics, new technologies, and film and visual culture.

- by Amanda du Preez
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- Sublime, Parkour, Contemporary Sublime
- by Arian Rodríguez Benítez
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- The Sublime, Estética, Psicoanálisis, Kantian Sublime

Darcia Labrosse's paintings on metal are ethereal yet earthy. Intensely physical, they speak nonetheless of a desire to go beyond the boundaries of human existence, to connect with a mysterious life force that is larger and more powerful than time-bound human life. The longing to escape death and become part of an order of plenitude is a deeply human one. Humans have felt inklings, hints of such unity in rare moments of intense, awe-inspiring yet perilous experiences, experiences that have been provoked, acted out and articulated in religion, art and philosophy throughout human history. Labrosse's industrial painting method, in which she aligns herself with the power of electromagnetic fields, provides such sublime moments for her, as we shall see. Borrowing an Abstract Expressionist style to communicate these moments, the artist acknowledges that a yearning for wholeness persists in our disenchanted time, while the anthropomorphic figures in various states of distortion and dissolution she conjures up, testify to the impossibility of embodied atemporality.

- by Petra Halkes
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- Abstract Expressionism, Contemporary Painting, Ana Mendieta, Re-enchantment