scholarly journals The Ancient Sublime(s). A Review of The Sublime in Antiquity

Mnemosyne ◽  
2020 ◽  
Vol 73 (1) ◽  
pp. 149-163
Author(s):  
Casper C. de Jonge

Abstract The sublime plays an important role in recent publications on Greek and Latin literature. On the one hand, scholars try to make sense of ancient Greek theories of the sublime, both in Longinus’ On the Sublime and in other rhetorical texts. On the other hand, the sublime, in its ancient and modern manifestations presented by thinkers from Longinus to Burke, Kant and Lyotard, has proved to be a productive tool for interpreting the works of Latin poets like Lucretius, Lucan and Seneca. But what is the sublime? And how does the Greek rhetorical sublime in Longinus relate to the Roman literary sublime in Lucretius and other poets? This article reviews James I. Porter, The Sublime in Antiquity: it evaluates Porter’s innovative approach to the ancient sublime, and considers the ways in which it might change our understanding of an important, but somewhat enigmatic concept.

Author(s):  
Christo Lombaard

This contribution is the second in a series on methodology and Biblical Spirituality. In the first article, ‘Biblical spirituality and interdisciplinarity: The discipline at cross-methodological intersection’, the matter was explored in relationship to the broader academic discipline of Spirituality. In this contribution, the focus is narrowed to the more specific aspect of mysticism within Spirituality Studies. It is not rare for Old Testament texts to be understood in relationship to mystical contexts. One the one hand, when Old Testament texts are interpreted from a mystical perspective, the methods with which such interpretations are studied are familiar. The same holds true, on the other hand, if texts in the Old Testament, dating from the Hellenistic period, are identified as mystic. However, African mission history has taught us that the Western interpretative framework, based on ancient Greek philosophical suppositions (most directly the concepts rendered by Plato and Aristotle) and rhetorical orientations, is so strong that it transposes that which it encounters in other cultures into its terms, thus rendering the initial cultural understandings inaccessible. This is precisely the case too with Old Testament texts dating from pre-Hellenistic times, identified as mystic. What are the methodological parameters required to understand such texts on their own terms? In fact, is such an understanding even possible?


Author(s):  
Lars Albinus

The purpose of the article is to show how the negative dialectics of Adorno gets involved with a concept of myth that is questionable in several respects. First of all, Adorno tries to combine, but rather conflates, two understandings of myth. On the one hand, the concept of myth is defined as the ancient Greek mythos, in which the subject of man is projected on to nature; on the other hand, myth is defined as the backfire of enlightenment, in which self-reflection becomes the blind spot of instrumental reason. Along these lines of argument, Adorno’s interpretation of Homer, which, at any rate, is highly inspiring, attempts to demonstrate that Odysseus is already enlightened in that he keeps the myth at bay in order to gain his self. The point is, as a matter of dialectic necessity, that he just ends up in myth once again, albeit in the second sense, namely by being a victim of his own self-denial. A question that seems to remain unanswered, though, is how the two kinds of myth are related. Further, Adorno draws on a problematic distinction between myth and literature in order to claim that Homer separates himself from the realm of myth. By adopting Adorno’s own game of interpretation, however, it is possible to regard myth as such, including the Homeric one, as being contingently open-ended rather than just a matter of dialectic determination.


2018 ◽  
Vol 21 (2) ◽  
pp. 55-68
Author(s):  
Robert Dobrowolski

Wzniosłe i cielesne pożywienie w sztuce jedzenia i nie-jedzeniaPrzenikające współczesną sztukę rozmaite, często przeciwstawne, strategie estetyczne manifestują się w  kulinarnym artyzmie nowoczesnej kuchni, a  także w  zmieniających się pod jej wpływem postawach i  zwyczajach żywieniowych. Z  jednej strony — abiektualizacyjny porządek dadaistycznej dezynwoltury, perwersyjna obrona przed całkowitym nihilizmem, w  perwersyjny sposób dekonstruuje estetykę jedzenia w  kuchni fusion; z  drugiej — zupełnie odmienna i  szczególnie zaskakująca w  wypadku sztuki jedzenia, charakterystyczna dla kuchni molekularnej, estetyka wzniosłości, zbliżająca się niekiedy do anorektycznej awersji wobec ciała, ale też nigdy nieporzucająca perspektywy smaku i  związanej z  nią zmysłowej przyjemności. The sublime and carnal food in the art of eating and not eatingVarious aesthetic strategies present in modern art, often contradictory, are not only manifested in culinary art of modern cuisine, but also in changing dietary attitudes and habits. On the one hand — abject order of dadaistic unceremoniousness, defense against complete nihilism, perversely deconstructs the food aesthetics in fusion cuisine; on the other hand — completely surprising in the context of food art, characteristic of molecular cuisine, aesthetics of sublime acquires sometimes anorectic aversion to the body, but never abandons the taste and connected with it sensual pleasure.


Kant Yearbook ◽  
2019 ◽  
Vol 11 (1) ◽  
pp. 17-40
Author(s):  
Sacha Golob

Abstract Kant’s account of the sublime makes frequent appeals to infinity, appeals which have been extensively criticised by commentators such as Budd and Crowther. This paper examines the costs and benefits of reconstructing the account in finitist terms. On the one hand, drawing ona detailed comparison of the first and third Critiques, I argue that the underlying logic of Kant’s position is essentially finitist. I defend the approach against longstanding objections, as well as addressing recent infinitist work by Moore and Smith. On the other hand, however, I argue that finitism faces distinctive problems of its own: whilst the resultant theory is a coherent and interesting one, it is unclear in what sense it remains an analysis of the sublime. I illustrate the worry by juxtaposing the finitist reading with analytical cubism.


2021 ◽  
Vol 5 (3) ◽  
pp. 25-44
Author(s):  
Dr Syed Abdul Majid Ghouri

The Chapter of Fatiha is conceived as one of the paramount chapters of the Holy Qur’an; rather, it is unprecedented one in the sense that not a similar chapter has been revealed in any of revealed Books including the Qur’an itself. Also, as many prophetic traditions have been narrated with regard to its virtues as not narrated concerning any other chapter; the objectives of this chapter have extensively been discussed more than other chapter; and this chapter is characterized by having many names more than all other chapters. Moreover, this chapter, despite of being conciseness, comprises of three types of Tawhid (Oneness of God); namely, Oneness in terms of Lordship, Oneness in terms of Divinity, and Oneness in terms of Names and Attributes. Similarly, this chapter is characterized with many other features: such as the role of this chapter in attracting benefits and removing harms, healing of deceased, (getting divine) guidance, and fulfilling necessities. In addition to this, the Qur’an begins with this chapter. It is stated that it is one of the basic elements of the prayer without which prayer does not stand valid. It, by all means, indicates to the sublime nature, great features and magnificent virtues that this chapter holds. This work analyses the prophetic traditions narrated concerning this chapter and focuses over its objectives, names, virtues and characteristics in the light of authentic prophetic traditions. Meanwhile, the researcher adopts hybrid methodology: namely inductive one and critical one. On the one hand, critical method is adopted for searching and gathering all relevant traditions that discuss in one way or another this chapter; and, on the other hand, inductive method is adopted for analyzing the relevant traditions and drawing significant conclusions therefrom. At the end, a conclusion is added that contains several important remarks which have been drawn while this study.


2019 ◽  
Vol 9 ◽  
pp. 165-180
Author(s):  
Agnieszka Morawiak

Innovation in creating consumer values as an important factor in socio-economic selection making  Consumption concerns many aspects of human life in both material and non-material dimensions. It shapes the attitude towards the family, spare time management, religion or culture. It sets the shape of our dreams, desires and life aspirations. On the one hand, it affects the system of our values, on the other hand, it is inspired by this system. Opponents of consumption, treating it as a secondary value and value in itself, accuse it of leading to the development of such phenomena as: mass entertainment, commercialization of culture or devel­opment of quite unnecessary, apparent needs. Instead, it removes the values generally respected in so­ciety, such as: interest in the fate of others, solidarity, care for the environment or the future of next gen­erations. Today’s consumer is not a mindless human being subject to the rules of the market, they are increasingly educated, aware and responsible. They make choices based not only on their own needs but based on values existing in a given society. They purchase wisely and respectfully, remembering that today’s choices will be the legacy for future generations, thus the consumer’s interest must be synchronized with these generations. Nowadays, it is the consumer who creates the image of the company, forcing it to take ethical and moral actions, and also heading for conscious consumption. Such an attitude creates the opportunity to include the consumer in the processes of companies’ activities and their innovations, as well as treating them personally and more like a partner. In the realities of the new economic, political, and social system, new values of individuals, as well as of entire social groups associated with the behaviour of consumers of the modern world are developing. Consumption, on the one hand, determines the shape of dreams, desires and the way of life. On the other hand, based on an innovative approach to it, it performs a symbolic function that gives a deeper and wider perspective to existing products, emphasizing them as exceeding their useful functions. Consumers becoming more aware of their choices take into account not only the system of their own values but also the values existing in a given society. This innovative approach to consumption creates new quality, a new lifestyle, it shapes new roles, it draws attention to the environment around us, and it cares about the sensible use of its resources and its means. Following values in the selection of products reveals responsibility connected to decision making, its impact on the environment and on entire social groups. They allow the individual to real­ize themselves in the group and the human community, they enable human development, achieving customer satisfaction, and avoiding the plundering economy. 


PARADIGMI ◽  
2009 ◽  
pp. 101-125
Author(s):  
Silvana Borutti

- This essay focuses on the occurrence of two words-concepts in Kant's and Wittgenstein's texts: Darstellung, which designates in both philosophies the imaginative activity of exhibition or presentation, essential in the experience of meaning, and Einstimmung, which designates the inter-subjective communicability of meaning. In Kant's philosophy, Darstellung plays a fundamental role in connecting the cognitive faculties. It refers, on the one hand, to the sublime character of imaginative power, which makes representation free from presence, and, on the other hand, to the inter-subjective and communicable character of this human capacity. By Darstellung also Wittgenstein refers to the presence of meaning in the logical form of language, and, at the same time, to the impossibility of representing language as an object. Imagination also presides over the communicability of meaning understood as an agreement, that is both a consonance of voices and a consent inscribed in the body.Key words: Agreement, Imagination, Presentation, Seeing as, Showing, Sublime.Parole chiave: Darstellung, Immaginazione, Mostrare, Sublime, Übereinstimmung,


2021 ◽  
Vol 9 (2) ◽  
pp. 271-284
Author(s):  
Massimo Raffa

Abstract This contribution is meant to shed light on how ancient Greek music theorists structure argumentations and address their readership in order to be understandable, effective and persuasive. On the one hand, some of the most important treatises, e.g. Ptolemy’s Harmonics (with Porphyry’s Commentary) and what remains of Archytas’ and Theophrastus’ works, are taken as case studies; on the other hand, the paper deals with some argumentative patterns recurring in harmonics demonstrations, especially with reference to the usage of everyday life experience as evidence supporting acoustic and harmonic theories.


Translationes ◽  
2019 ◽  
Vol 11 (1) ◽  
pp. 92-107
Author(s):  
Alina Pelea

Abstract It may be too much to say that a picture is worth a thousand words, but no one can deny the informative potential of visual representations. Considering that the history of translation would also benefit from their use, we propose an intervention that will try to look at these resources in order to shed additional light on the status of the interpreter and its evolution. We analyze visual resources dating back to the 17th and 18th centuries (works of art) and others from 2018 (potentially more objective) to see how they reflect, on the one hand, the status of the dragomans of the Sublime Porte and, on the other hand, that of today’s interpreters. In conducting this research, we also look at how new technologies can contribute to the study of different media.


2019 ◽  
Vol 17 (3) ◽  
pp. 245-257
Author(s):  
Alexander A. Sanzhenakov

The article is devoted to the consideration of the pedagogical content of Seneca’s tragedy. The article provides a solution for the problem, which is contained in the controversy – on the one hand, Seneca as other Stoics believes that the passions negatively affect the soul of human being, on the other hand, his tragedies portray plots overrun with passions involving murder, perfidy, betrayal and other crimes. The author suggests that this feature of the plot of dramatic works of Seneca cannot be explained by simple respect of the tradition, according to which the passion is the main driving force of both the ancient Greek and ancient Roman tragedies. The author shows that Seneca intentionally uses certain artistic techniques to achieve the pedagogical effect.


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