Renegotiating the Body of the Text: Mechthild Von Magdeburg's Terminology of the Sublime

Exemplaria ◽  
2008 ◽  
Vol 20 (4) ◽  
pp. 385-409
Author(s):  
Amiri Ayanna
Keyword(s):  
The Body ◽  
The Sublime

scholarly journals Wzniosłe i cielesne pożywienie w sztuce jedzenia i nie-jedzenia

2018 ◽  
Vol 21 (2) ◽  
pp. 55-68
Author(s):  
Robert Dobrowolski
Keyword(s):  
Modern Art ◽  
The Body ◽  
The Other ◽  
The Sublime ◽  
Other Hand ◽  
Sensual Pleasure ◽  
The One

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.

From Stone to Flesh

2016 ◽  
Author(s):  
Johann Chapoutot
Keyword(s):  
The Body ◽  
The Public ◽  
The Third ◽  
New Man ◽  
The Sublime ◽  
German People

This chapter examines the body of the Third Reich's new man—a body first and foremost, and one which could only be achieved through recourse to an antiquity that the Nazis held up as the archetype and canon of racial beauty. The Greeks and Romans were Indo-Germanic populations, their bodies fulfillments of the Nordic type, which was vital to maintain or restore in the racial present. The Greek and Roman body was preserved in ancient statuary, which Hitler put forward as the standard for emulation by the German people. The sublime, fully realized archetype of the Aryan body would, by saturating the public with its image and continually proclaiming its perfection, nourish the same standard of beauty among its contemporary cousins.

The Lament and the Rhetoric of the Sublime

1998 ◽  
Vol 53 (3) ◽  
pp. 279-306 ◽  
Author(s):  
Linda M. Austin
Keyword(s):  
Nineteenth Century ◽  
Medical Literature ◽  
Lyric Poetry ◽  
The Body ◽  
The Sublime

The appearance of melodramatic language and gesture in nineteenth-century lyric poetry was underwritten by two theories of ecstasis, the sense of losing oneself or going beyond the limits of comprehension. The first kind of ecstasis belonged to the sublime reaction, as Kant and Burke had imagined it. The second sort belonged to the picture of the disordered mind in the medical literature. A rhetoric of shock and loss in the melodramatic lyric bears the remains of the inchoate language and wild gestures in ancient lamentation but also refers to more recent performances of overpowering emotion on stage. Conventional reactions to sublime landscapes in painting, for example, employ expressions and gestures inventoried both in Longinus's treatise on the sublime and in acting manuals for tragedians. Percy Bysshe Shelley's "A Lament" (1821) and Richard Harris Barham's "Epigram" (1847) are performances of the sublime confrontation with the idea of death. Both poems were attempts to record ecstasis and to transcribe melodramatic acting. "Epigram," moreover, alludes to another interpretation of ecstasis in the lately popular Romantic ballet. This revolutionary technique created an illusion of bodilessness-a vision of the body losing itself and fading into nothing. The reformulations of the sublime in philosophy and medicine thus enabled a set of signifying practices that appear in transcriptions of lamentation and in dance. Both are efforts to perform the sublime moment.

scholarly journals Feeding the transcendent body

2018 ◽  
pp. 219-232
Author(s):  
George Yúdice
Keyword(s):  
The Body ◽  
The Self ◽  
The Sublime ◽  
The Aesthetic

"A language which repeats no other speech, no other Promise, but postpones death indefinetely by ceaselessly opening a space where it is always the analogue of itself". This is Foucault's account of an aesthetics of transcendence, where transcendence is defined as the experience of infinìty (call ìt mysticism, the sublime, or poststructuralìst écriture) withìn a medium that feeds on itself. This essay examines eating and the self-consuming body as the most basic metaphors of the aesthetic process that Foucault describes and asks whether they have not lost their relevance for transcendence in a world of simulation, that is, a world in which everything, even the body, has undergone the banalization (Baudrillard's term) that results when medium collapses unto itself. It also proposes new and more politically viable metaphors of construing the consumption metaphor.

Appropriating Ovid’s Tyrannical Raptures in Macbeth

2019 ◽  
pp. 163-181
Author(s):  
John D. Staines
Keyword(s):  
The Body ◽  
Deleuze And Guattari ◽  
Titus Andronicus ◽  
Human Culture ◽  
The Sublime ◽  
The Uncanny ◽  
Human Understanding

In contrast to Titus Andronicus, Macbeth adapts few Ovidian sources; nonetheless, the play reveals how completely the mature Shakespeare appropriates Ovid’s poetics, especially the element of raptus, seizing and being seized. Macbeth himself is the body rapt, and raped, as he experiences the sublime terror of being swept up and violated by forces at the edge of human understanding. The tyrant is both the rapist and the raped, seized by passions he cannot, or will not, control, tortured in “restless ecstasy” that drives him to greater violations. Using the rhizome and assemblage of Deleuze and Guattari, and the hauntology of Derrida, this chapter sees Shakespeare, Ovid, and human culture as fragmentary records of violent appropriations and traumatized ghosts haunting past, present, and future. The uncanny, spectral experiences Maurizio Calbi finds in postmodern Shakespearean adaptations are thus intensifications of experiences Shakespeare found in Ovid and made central to his art.

Immaginazione e pensiero del limite. Darstellung e Einstimmung in Jant e in Wittgenstein

PARADIGMI ◽  
2009 ◽  
pp. 101-125
Author(s):  
Silvana Borutti
Keyword(s):  
Key Words ◽  
Logical Form ◽  
The Body ◽  
The Other ◽  
Presence Of Meaning ◽  
The Sublime ◽  
Other Hand ◽  
Cognitive Faculties ◽  
Human Capacity ◽  
The One

- 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,

Belief in the Body: Philippe Garrel's Le Révélateur and Deleuze

Paragraph ◽  
2008 ◽  
Vol 31 (2) ◽  
pp. 159-172 ◽  
Author(s):  
PATRICK FFRENCH
Keyword(s):  
Nervous System ◽  
The Body ◽  
The Sublime ◽  
The World

In Cinema II Deleuze proposes, via early film theorists, that cinema can realise the potential inherent in art to act directly on the nervous system. Cinema had the ‘sublime’ capacity to shock thought into activity, and awaken the ‘spiritual automaton’ in us through vibrations and affects, rather than representations. Deleuze finds a variant of this argument in the writings of Artaud on cinema, in which film forces the realisation of an impotence at the heart of thought. Deleuze then proposes that the only response to this impotence is belief in the connection between man and the world, as expressed and realised in a corporeal cinema of gestures, the prime example of which, in his view, is the work of Philippe Garrel. I will address Garrel's film Le Révélateur in relation to these propositions, focussing also on how the film works primarily at the level of sensory and gestural dynamics, rather than narrative or representation.

scholarly journals Empathising with Bog Bodies: Seamus Heaney and the Feminine Sublime

2017 ◽  
Vol 1 (1) ◽  
Author(s):  
Patrick Wright
Keyword(s):  
The Body ◽  
Critical Discourse ◽  
Seamus Heaney ◽  
Scholarly Writing ◽  
Affective Dimension ◽  
The Troubles ◽  
The Sublime ◽  
The Feminine ◽  
Reading Texts

This article makes the case that Seamus Heaney’s bog poems, in his collection North, represent the body in such a way as to evoke the sublime. Heaney's depicition of bodies presents them as a weird conflation of terror and beauty, which is, this article claims, his precise articulation of the sublime: one that is distinct from Edmund Burke’s theory. In recognition of the fact that much of the scholarly writing on North, thus far, has focused its attention on how these poems represent Heaney’s Irishness, his relationship to politics and the Troubles, his mythopoeic imagination, and so on, this article advances the critical discourse on his work, and moves the analysis towards feminist commentary and the affective dimension of the poems. In part the intention is to address an often reductive, historicist approach to reading texts, and the swift eagerness of literary critics to seize Heaney’s poems for their own political agendas. With this in mind, this article responds to recent feminist debates on Heaney, while arguing that Heaney’s sublime does not represent an ogre-like patriarchy, but rather remains respectful of its object, and works to resolve any seeming opposition to the category of the beautiful.

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