Kant im Kino

2015 ◽  
Vol 63 (1) ◽  
Author(s):  
Jihae Chung

AbstractUsing a detailed analysis of scenes from Into the Wild (2007), this study aims to demonstrate how the theory of the sublime, particularly Kant’s theory, can be applied to film. To this purpose, the sublime will be referred to in the film heuristically as the Cinematic Sublime. My basic assumptions here are as follows: First, Kant’s theory of the sublime can be seen as a philosophical and aesthetic emotion-oriented teaching. Second, the emotional-sensory experience of the sublime is always manifested in the interconnection of both the film’s technical apparatus as well as its physical and mental perception. So the different modes of experiencing of the Cinematic Sublime can be described as filmic emotions. As a consequence, the phenomenon of the Cinematic Sublime is a textually constructed sensation, which can be analyzed with the help of textual analysis. Third, the Cinematical Sublime can be experienced through intersubjective activities of the audience during film reception, requiring a high degree of imagination, empathy and constitutive perception. Thus, I am undertaking a film-philosophical investigation that can be described as an analysis of film emotions based upon the textuality of film

ΠΗΓΗ/FONS ◽  
2019 ◽  
Vol 3 (1) ◽  
pp. 9
Author(s):  
Veronika Konrádová

Resumen: El artículo examina la interconexión entre los principios fundamentales de la sociabilidad humana y el elemento de lo divino. Específicamente, se enfoca en la estrecha conexión entre las nociones de dios y justicia, establecidas en los trabajos de tradiciones pre-filosóficas y filosóficas, es decir Hesíodo y Platón. Se presta especial atención a los motivos, que pueden ser compartidos por Hesíodo y Platón en relación con los principios que subyacen en la vida social y política humana. La investigación comienza con una referencia a la imagen de Zeus como garantía de justicia, permitiendo una vida comunitaria plenamente humana y ordenada (Hes. Op. 213-285). Sobre esta base, se plantea la cuestión de hasta qué punto Platón se basa en esta imagen y en qué medida promueve la visión de Hesíodo en sus propios escritos. La respuesta se busca a través de un análisis detallado del mito de los orígenes de la cultura en el Protágoras (320d-322d). Entre otros ecos de Hesíodo, el pasaje contiene la imagen clave de Zeus que proporciona a la humanidad justicia y vergüenza, es decir, principios indispensables de la vida social en las ciudades. En cuanto al problema de autoría de toda la narración, presentada por Protágoras en un escenario dialógico, el artículo defiende la posición es platónica en sus puntos esenciales. Los argumentos a favor de esta orientación incluyen: 1) la detección de diferencias significativas en comparación con otras partes del tratamiento sofístico de la cuestión de los orígenes de la cultura (a este respecto, se examinará el fragmento del Sisyphus, B25 en particular); 2) resaltar elementos de la antropología y teología platónica presentes en el mito. Aquí, un punto de referencia importante son las Leyes de Platón, especialmente una larga exposición sobre las amenazas del ateísmo en el libro X (889a-906c), que rechaza el convencionalismo como un modelo explicativo de coexistencia política. Con un análisis textual detallado, el artículo pretende mostrar cómo Platón desarrolla y transforma la concepción de los principios de la sociabilidad humana, tanto en respuesta a sus predecesores como en contraste con la discusión contemporánea. La interpretación propuesta enfatiza el papel fundamental de Dios en la organización de los asuntos humanos, como una característica constante del tratamiento de este tema por parte de Platón, también reconocible en la estructura del mito de Protágoras.Palabras clave: Hesíodo, Platón, Protágoras, mito, origen, cultura, dios, justicia.Abstract: The paper examines the interconnection between fundamental principles of human socia-bility and the element of the divine. Specifically, it focusses on the close connection between the notions of god and justice, established in the works of pre-philosophical and philosophical tra-ditions, namely Hesiod and Plato. Special attention is paid to motives, which may be shared by Hesiod and Plato regarding principles underlying human social and political life. The examina-tion opens with a reference to Hesiod’s image of Zeus as a guarantee of justice, enabling a fully human and well-ordered communal life (Hes. Op. 213-285). On this basis, the question is raised to what degree Plato draws from this basic image and to what extent he prolongs Hesi-od’s vision in his own writings. The answer is sought in a detailed analysis of the myth of the origins of culture in Plato’s Protagoras (Prot. 320d-322d). Among other Hesiodic echoes, the passage contains Zeus’ key image providing humankind with justice and shame, i.e. indispen-sable principles of social life in the cities. Concerning the authorship problem of the whole nar-ration, presented by Protagoras in the dialogue’s dramatic setting, the paper defends the posi-tion that the story is Platonic in its essential points. Arguments in favour of this conviction in-clude: 1) detection of significant differences in comparison with other pieces of sophistic treat-ment of the issue of the origins of culture (in this respect, the Sisyphus fragment B25 will be ex-amined in particular), 2) highlighting elements of Platonic anthropology and theology present in the myth. Here, a significant reference point is Plato’s Laws, especially a long exposition on threats of atheism in Book 10 (889a-906c), refusing conventionalism as an explanatory model of political co-existence. With a thorough textual analysis, the paper aims to show how Plato develops and transforms the conception of underlying principles of human sociability, both in response to his predecessors and in confrontation with ongoing contemporary discussion. The proposed interpretation emphasises god’s fundamental role in the arrangement of human af-fairs, as a constant feature of Plato’s treatment of the issue, also recognisable in the structure of Protagoras’ myth.Keywords: Hesiod, Plato, Protagoras, myth, origin, culture, god, justice.


Author(s):  
Stephen Rumph

Transcendence has become a lively topic in the hermeneutics of Viennese Classicism, but Immanuel Kant’s theory of the sublime has squeezed out competing models. Numerous critics have pointed to moments in the music of Haydn, Mozart, and Beethoven in which the overwhelming or bewildering experience of the sublime tests the limits of the phenomenal self and thereby, as Kant argued, awakens the listener to the supersensory noumenal realm. This chapter offers an alternative model of musical transcendence based on Johann Gottfried Herder’s late aesthetic treatise Kalligone (1800), a polemic aimed directly at Kant. Herder challenged the familiar Kantian account by emphasizing the sensory experience of music, its affinities with language, its temporal nature, and its grounding in the phenomenal realm of bodily experience. Kalligone not only offers an alternative vision of musical transcendence but also suggests intriguing links with current trends in musical scholarship obscured by Herder’s more famous teacher.


Ramus ◽  
2014 ◽  
Vol 43 (1) ◽  
pp. 1-24
Author(s):  
Robert Cowan

Virtually nothing is known for certain about Sophokles' satyr playSalmoneus. However, a number of extremely probable deductions may be made on the basis of the few surviving fragments and the mythographic testimony about its eponymous villain (the iconographical record is totally unhelpful, or almost so). This article adds some further suggestions about the implications of the three most substantial fragments, which, if they do not quite share that level of extreme probability, it is hoped have a high degree at least of plausibility, and some significance for (meta-)dramatic and thematic aspects of the play as a whole. I shall argue that a reference to the malodorous quality of the thunderbolt draws attention to the gross physicality of the thunder-machine orbronteion(βροντεῖον) which Salmoneus has invented and constructed out of ox-hides. This has both a metatheatrical dimension, since thebronteionwas probably part of the stage-machinery of 5th-century drama, and a thematic one, since it emphasises the low, corporeal nature of Salmoneus' thunder in contrast to the sublime weapon of Zeus which it imperfectly mimics. The established parallelism between thunder and farting adds another level to the debasing of Salmoneus’ invention and concomitant deflation of his pretensions. Finally, I shall suggest that another fragment relating to the sympotic game ofkottabosmay have drawn a similarly deflating parallel between the hurling of the wine-lees and that of the tyrant's ersatz thunderbolts.


Author(s):  
John Tulloch ◽  
Belinda Middleweek

Chapter 3 explores the critical frame of feminist Lacanian postmodernism, underpinning an understanding of real sex films like Romance as art-house cinema in mutual dialogue with pornography. It argues that this fusion and tension between genres misses significant disparities within art house, and neither offers a robust history nor acknowledges that the Romance narrative focuses on Marie’s negotiation of her own sexuality and embodiment via a picaresque series of female/male encounters in a changed modernity. In its detailed analysis of Romance, the chapter draws on Giddens’s concepts of plastic sexuality and confluent love, Raymond Williams’s notion of emotional realism, and Trevor Griffiths’s historical understanding of the (raced and classed) wandering vagrant in an interdisciplinary “extension” of Tanya Krzywinska’s analysis of real sex cinema. This textual analysis combines “mutual understanding” of feminist mapping theory with risk sociology’s recognition of history as the growth of dialogue with the ars erotica.


2010 ◽  
Vol 90 (4) ◽  
pp. 547-578
Author(s):  
Ineke Cornet

AbstractThe anonymous Arnhem Mystical Sermons (Royal Library, The Hague, ms. 133 H 13), copied around 1560–1575 in the St. Agnes convent in Arnhem, is the largest sermon collection that has no other corresponding compilation. Till now, no concrete sources had been identified. This article elaborates on my discovery that one sermon (111) has incorporated a part of Ruusbroec's Spiritual Espousals with significant adaptations. This article provides a detailed analysis of the similarities and modifications, thereby showing the continuity and discontinuity with the fourteenth-century Ruusbroec and relating these differences to the context of the sixteenth-century by showing parallels with other mystical works from the region of Arnhem, namely the Evangelical Pearl and the Temple of Our Soul.


Author(s):  
Natal'ya Aleksandrovna Ryadovykh

The object of this research is the category of chronotope – a significant complex text category that reflects the semantic coordinates of the text and extra-textual reality. The category of chronotope intertwines the isomorphic components of textual time and textual space. The Akathist genre belongs to an insufficiently studied functional religious style. Examination of the category of chronotope in the context of Akathist genre is relevant trend in the modern functional stylistics. The research material contains the texts of Orthodox Akathists dedicated to the canonized saints. The objectivity of scientific research is justified by the choice of texts from various time periods. The author applies the method of categorical-textual analysis, which reveals the linguo-stylistic technique of formation of the components of general communicative-pragmatic meaning of the text. The novelty is defined by the fact that the use of categorical-textual method in the analysis of the Akathist type of text, interpreted as a generalized textual structure with typical genre-forming components, allows determining with a high degree of objectivity the genre specificity of Akathist and religious functional style. As a result of the conducted research, the author highlights the categorical-textual typology of chronotope, which characterizes the systematic uniformity of Akathist texts. The article describes the methods of explication of the sacred, objective (objectively-sacred and objectively-profane), and subjective (subjectively-sacred and subjectively-profane) types of time and space. Temporal indicators and locative units of the determined types of chronotope reconstruct the dichotomy of the divine and the earthly in the Akathist, which is inherent to the Christian worldview and constructively substantiates the uniqueness of the religious functional style. The conducted analysis reveals the communicative-pragmatic focus of the complex textual category of chronotope. The research materials can be used as an illustrative textbook in the practical course of the stylistics of modern Russian language.


2021 ◽  
Vol 17 (1) ◽  
pp. 1-17
Author(s):  
Tazul Islam ◽  
Sayyid Muhammad Yunus Gilani

This paper explores the Qur’anic factors for nation’s rise and fall. It highlights on how the divine law, sunnatullah, is functioning in this connection. The researcher depends on the textual analysis method dealing with relevant verses of the Quran. Hence, various types of Tafsir books were consulted. The findings include as follows: according to Quran, the universe is created and regulated in a systematic way which makes it a cosmos and not a chaos. This system is called sunnatullah, the natural laws of cause and effect. The case of nation’s rise and fall is also governed by the same divine system. The Quran depicts the standards and virtues such as strong belief system, righteous deeds, justice, reformation, renewal, having knowledge and wisdom might raise a nation to the sublime position among other nations. Similarly, it refers to some factors such as luxury, injustice, religious extremism, disunity that could propel a nation from the sublime to the ridiculous. It is expected that this study would deliver a significant contribution to this subject.


Pneuma ◽  
1981 ◽  
Vol 3 (1) ◽  
pp. 11-25 ◽  
Author(s):  
Howard M. Ervin

AbstractFundamental to the study of hermeneutics, as to any academic disciplines, is the question of epistemology. What are the grounds of knowledge ? How does one determine the limits and validity of knowledge? It is not our purpose to discuss the subject in any detail but simply to note basic assumptions that affect our approach to hermeneutics. Two ways of knowing are so much a part of our Western ways of thinking that they are received as axiomatic viz. sensory experience and reason. Any theology that limits itself only to these two ways of knowing is locked into the perennial dichotomy between faith and reason to which the so-called New Hermeneutic1 seeks to speak, however, without much success for reasons to be discussed later.


2021 ◽  
Vol 20 (2) ◽  
pp. 069-082
Author(s):  
Magdalena Grudzińska

The calculation method presented in ISO 13790 was developed during the research project PASSYS. It aimed to work out the way of estimating energy demand while taking into account different passive solar systems. The standard includes two calculation methods for sunspaces – a full and simplified method. They differ in terms of basic assumptions and the treatment of solar gains in the sunspace and conditioned rooms. There are some doubts about the interpretation of equations presented in the standard, especially when it comes to modelling the solar radiation distribution within the solar space. The paper presents a discussion on the basic hypotheses applied in full and simplified methods, together with the author’s suggestions regarding modifications to the ISO 13790 calculation methods. The modified methods allowed to satisfactorily predict the functioning of the exemplary sunspaces with a smaller area of glazed partitions and higher radiation absorptivity of the casing, that is spaces similar in terms of solar radiation utilisation to traditional living spaces. The phenomena typical for sunspaces with a high degree of glazing, such as the retransmission of reflected radiation, were not sufficiently taken into account in the calculation methods of the standard.


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