scholarly journals THE UNCANNY IN «CARMILLA» BY J. S. LE FANU IN THE CONTEXT OF NIETZSCHEAN AND PSYCHOANALYTIC PERCEPTION

2020 ◽  
Vol 1 (17) ◽  
pp. 112-116
Author(s):  
Tamara Kyrpyta
Keyword(s):  
Gothic Literature ◽  
Gothic Novel ◽  
The Sublime ◽  
The Uncanny ◽  
Key Concepts ◽  
Horror Literature ◽  
The Aesthetic ◽  
Good And Evil ◽  
The Ideal

The article deals with the category of uncanny as an integral part of Gothic literature in the aspect of philosophical and aesthetic views. It traces the connection between the notions of «horrible», «ugly» and «sublime», as well as the artistic embodiment of this connection in the novella about the vampires «Carmilla» by J. S. Le Fanu. Sigmund Freud’s article «The Uncanny» gave literary critics one of the key concepts that are used in the analysis of Gothic literature and literature of horror. The Uncanny, according to Freud is something strange, which disguises itself as a familiar one, it is something that should be hidden, but suddenly showed itself. In Gothic, this is usually embodied in anthropomorphic objects that resemble humans (or other living creatures), but are not in truth: dolls, mechanical toys, art images, etc. That is, the things acquire properties unusual and uncharacteristic for them. At the heart of the horror literature as a successor to a Gothic novel lays the idea of the wrongness and disharmony. In this context, Freud’s «uncanny» echoes the Kantian notion of «sublime», as well as, to a certain extent, the paradox of the ugly put forward by N. Goodman. Kant’s «sublime» is aesthetically close to Freud’s «uncanny». This is something recognisable and at the same time immense, which gives a sense of grandeur and even holiness, and hence, causes surprise, connected with awe and fear. The ideal content of the sublime is far greater than its real embodiment. Following F. Nietzsche, who advocated aesthetic relativism and considered the irrationalDionysian impulse to be no less important than the rational Apollonian one, the postmodernists rejected the aesthetic distinction between Good and Evil and, consequently, the contrast between the Beautiful and the Ugly. Thus, N. Goodman, in his paradox of the ugly, says that under certain circumstances ugly objects can be perceived as attractive ones, and the beautiful arouses disgust. And J. Kristeva believes that it is through disgust caused by the ugly that catharsis occurs as purification from existential fear. We traced the features of the artistic embodiment of horror, disgust and uncanny in «Carmilla» by J. S. Le Fanu.

The Virtual Infernal: Philippe de Loutherbourg, William Beckford and the Spectacle of the Sublime

2007 ◽  
Author(s):  
Iain McCalman
Keyword(s):  
Nineteenth Century ◽  
Virtual Reality ◽  
Special Significance ◽  
Virtual Reality Technology ◽  
Gothic Novel ◽  
The Sublime ◽  
William Beckford ◽  
History Of ◽  
The Aesthetic ◽  
Drury Lane

Abstract In the autumn of 1781, shortly after being elected to the British Academy of Art as a landscape painter, Alsatian-born artist Philippe Jacques de Loutherbourg was hired by the wealthy young aesthete William Beckford to prepare a private birthday spectacle at his mansion in Wiltshire. De Loutherbourg, who was also chief scenographer at Drury Lane theatre and the inventor of a recent commercial “moving picture” entertainment called the Eidophusikon, promised to produce “a mysterious something that the eye has not seen nor the heart conceived.” Beckford wanted an Oriental spectacle that would completely ravish the senses of his guests, not least so that he could enjoy a sexual tryst with a thirteen year old boy, William Courtenay, and Louisa Beckford, his own cousin’s wife. The resulting three day party and spectacle staged over Christmas 1781 became one of the scandals of the day, and ultimately forced William Beckford into decades of exile in Europe to escape accusations of sodomy. However, this Oriental spectacle also had a special significance for the history of Romantic aesthetics and modern-day cinema. Loutherbourg and Beckford’s collaboration provided the inspiration for William to write his scintillating Gothic novel, Vathek, and impelled Philippe himself into revising his moving-picture program in dramatically new ways. Ultimately this saturnalian party of Christmas 1781 constituted a pioneering experiment in applying the aesthetic of the sublime to virtual reality technology. It also led Loutherbourg to anticipate the famous nineteenth-century “Phantasmagoria” of French showman, Gaspard Robertson, by producing in 1782 a miniature Gothic movie scene based on the Pandemonium episode in Milton’s Paradise Lost.

Schelling As a Forerunner of Symbolist Aesthetics

2021 ◽  
pp. 174-184
Author(s):  
Victor V. Bychkov ◽  
Keyword(s):  
Work Of Art ◽  
The Unconscious ◽  
Central Places ◽  
The Real ◽  
The Sublime ◽  
Natural Beauty ◽  
The Absolute ◽  
The Aesthetic ◽  
The Universe ◽  
The Ideal

The aesthetics of early Schelling constitutes the philosophical foundation of the po­etic consciousness of German Romantics and becomes one of the theoretical sources for symbolist aesthetics. The article accentuates proto-symbolist elements in Schelling’s aesthetics. It shows that the spiritual cosmos in Schelling – which is a world of ideas and gods that connects to the material world, in particular, through art – develops out of the Absolute. The universe itself is manifested in God as an absolute work of art. At the same time, art in its formation is based on mythol­ogy and realises itself as the unity of the “infinite and finite in the finite”, as an identity of the conscious and the unconscious, as a lack of distinction between the ideal and the real, as a depiction of the absolute in a particular. This accounts for a polysemantic understanding of a work of art. Schelling focuses attention on the aesthetic essence of art, which is founded on the principles of the beautiful and the sublime. He values beauty in art – as something that ascends from visible forms to prototypes – higher than natural beauty. He associates the sublime with size, “formlessness”, and chaos, and he classifies its expression in art (“the finite”) as symbolic. Schelling is interested in chaos as a potential for every kind of form, because the contemplation of the infinite – i.e., the Absolute as the highest “form in formlessness”, which can only be manifested to the world symbolically – is rooted in chaos. The notion of symbol occupies one of the central places in Schelling’s aesthetics, because it deals with the expression of the infinite in the finite, of the ideal in the real, and of the universal in the particular. The symbol marks and manifests an idea, and this is why the main point of artisticity lies within the symbol. Schelling understands language (speech) as a work of art, and for this reason he sees more symbolic potential in verbal than in pictorial arts. All these ideas in many ways form the foundation of symbolist aesthetics.

Schopenhauer and the Paradox of the Sublime

2020 ◽  
pp. 237-255
Author(s):  
Bart Vandenabeele
Keyword(s):  
Aesthetic Experience ◽  
Human Being ◽  
Aesthetic Object ◽  
Human Reason ◽  
The Sublime ◽  
The World ◽  
The Aesthetic

Schopenhauer explores the paradoxical nature of the aesthetic experience of the sublime in a richer way than his predecessors did by rightfully emphasizing the prominent role of the aesthetic object and the ultimately affirmative character of the pleasurable experience it offers. Unlike Kant, Schopenhauer’s doctrine of the sublime does not appeal to the superiority of human reason over nature but affirms the ultimately “superhuman” unity of the world, of which the human being is merely a puny fragment. The author focuses on Schopenhauer’s treatment of the experience of the sublime in nature and argues that Schopenhauer makes two distinct attempts to resolve the paradox of the sublime and that Schopenhauer’s second attempt, which has been neglected in the literature, establishes the sublime as a viable aesthetic concept with profound significance.

Adorno’s Philistine: the Dialectic of Art and its Other

2019 ◽  
pp. 1-31
Author(s):  
Paul Ingram
Keyword(s):  
The Other ◽  
Critical Potential ◽  
The Social ◽  
The Aesthetic ◽  
Critical Turn ◽  
The Ideal

Abstract Theodor Adorno’s philistine functions as the other of art, or as the ideal embodiment of everything that the bourgeois aesthetic subject is not. He insists on the truth-content of the derogation, while recognising its unjust social foundation, and seeking to reflect that tension in a self-critical turn. His model of advanced art is negatively delimited by the philistinism of art with a cause and the philistinism of art for enjoyment, which represent the poles of the aesthetic and the social. The philistine is also the counterpart to the connoisseur, with the interplay between them pointing to his preferred approach to aesthetics, in which an affinity for art and alienness to it are combined without compromise. However, Adorno fails to realise fully the critical potential of the philistine as the immanent negation of art and aesthetics.

scholarly journals The Reality of Moral Imperatives in Liberal Religion

2013 ◽  
Vol 28 (2) ◽  
pp. 297-335
Author(s):  
Howard Lesnick
Keyword(s):  
Ideal World ◽  
Liberal Religion ◽  
The World ◽  
Moral Universe ◽  
Child Subject ◽  
Good And Evil ◽  
The Ideal

God has made man with the instinctive love of justice in him,which gradually gets developed in the world …. I do not pretendto understand the moral universe; the arc is a long one, my eyereaches but little ways; I cannot calculate the curve and completethe figure by the experience of sight; I can divine it by conscience.And from what I see I am sure it bends towards justice.Theodore Parker (1853)A strange mystery it is that Nature, omnipotent but blind, in therevolutions of her … hurryings through the abysses of space, hasbrought forth at last a child, subject still to her power, but giftedwith sight, with knowledge of good and evil, with the capacity ofjudging all the works of his unthinking mother. [Gradually, asmorality grows bolder, the claim of the ideal world begins to befelt, [giving rise to the claim] that, in some hidden manner, theworld of fact is really harmonious with the world of ideals. Thusman creates God, all-powerful and all-good, the mystic unity ofwhat is and what should be.

Multilingualism and the Ideal of Unity in Diversity in the European Union. Key Concepts and Context

2020 ◽  
Vol 65 (2) ◽  
pp. 265-282
Author(s):  
Roxana-Maria Nistor-Gâz ◽  
Delia Pop-Flanja
Keyword(s):  
European Union ◽  
Cultural Diversity ◽  
Linguistic Diversity ◽  
Point Of View ◽  
The European Union ◽  
Cultural And Linguistic Diversity ◽  
Tower Of Babel ◽  
Key Concepts ◽  
Unity In Diversity ◽  
The Ideal

"In a world challenged by cultural diversity, this article aims to look at the great diversity of languages and cultures that coexist within the European Union. Building on the story of the Tower of Babel that explains, from a religious point of view, the cultural and linguistic diversity existing in the European Union, the authors tried to contextualize EU’s motto of “unity in diversity”, interpreted as an ideal involving a lot of effort and sometimes even many conflicts, but one that we should all fight for and strive to maintain. Keywords: linguistic diversity, ethnicity, nation, minority, majority, communication, unity in diversity"

COMPARATIVE LITERATURE: EAST AND WEST STUDIES

2021 ◽  
Vol 02 (09) ◽  
pp. 8-14
Author(s):  
Aziza Komilovna Akhmedova ◽  
Keyword(s):  
Comparative Literature ◽  
Professional Ethics ◽  
Research Work ◽  
Literary Studies ◽  
The Novel ◽  
World Science ◽  
History Of ◽  
The Aesthetic ◽  
Aesthetic Ideal ◽  
The Ideal

The article analyzes the results of the research on the representation of the aesthetic ideal through the image of the ideal hero in two national literatures. For research purposes, attention was paid to highlighting the category of the ideal hero as an expression of the author's aesthetic views. In Sinclair Lewis’s “Arrowsmith” and Pirimkul Kodirov's “The Three Roots”, the protagonists artistically reflect the authors' views on truth, virtue, and beauty. In these novels, professional ethics is described as a high noble value. The scientific novelty of the research work includes the following: in the evolution of western and eastern poetic thought, in the context of the novel genre, the skill, common and distinctive aspects of the creation of an ideal hero were revealed by synthesis of effective methods in world science with literary criteria in the history of eastern and western literary studies, in the example of Sinclair Lewis and Pirimkul Kodirov.

scholarly journals Los nuevos decorados del arte

2016 ◽  
Vol 10 (17) ◽  
pp. 102
Author(s):  
Carlos Fajardo Fajardo
Keyword(s):  
Jean Baudrillard ◽  
Cultural Logic ◽  
The Sublime ◽  
Advanced Capitalism ◽  
The Aesthetic ◽  
Crisis Of Modernity ◽  
Fredric Jameson

RESUMENEl presente artículo pasa revista y analiza algunas de las tesis que Jean François Lyotard, Fredric Jameson y Jean Baudrillard construyeron para dar cuenta de las consecuencias de la llamada crisis de la modernidad y sus repercusiones en el arte. Se presta especial atención a categorías estéticas que surgieron a partir del resquebrajamiento de los pilares del edificio estético de Occidente bajo la globalización y la posmodernidad. De Lyotard se abordan su reflexión sobre la crisis de los grandes relatos y su noción de lo sublime, de Jameson sus apreciaciones sobre el pastiche, la moda retro bajo las lógicas culturales del capitalismo avanzado, y, de Baudrillard, los conceptos de transestética y estetización, y la pérdida de ilusión estética en la sociedad tecno-mediática y de mercados.PALABRAS CLAVESPosmodernidad, sublime, pastiche, moda retro, estetización.MUSO ALLI CHIKUNA SUGLLAPIKai kilkape willakume imasam kai kimsa runakuna Jean Francois Lyotard, Fredic Jameson y Jean Baudrillard rurankuna tukui mana allilla kaskakunata Kawangapa imasam kunaurra, ruranchi, paikuna allilla ñawe churranaku Kawangapa imasam kunaurra ruranchi, paikuna allilla ñawe shuranaku Kawangapa mana paquerechu tuku, kaipe willaku llukanchi llullarenga Allila mana kai atun llakiikuna pasarrengapa mana chingarrengachu Tukui allila ruranakuska tukui runakunamanda.IMA SUTI RIMAI SIMINespa musukauangapa, atun iuiai, kauaskatak rurangapa, kunaurra musu Kauai, retro, estatización.THE NEW SCENERIES OF ART. ABSTRACTThis article reviews and discusses some of the theses that Jean Francois Lyotard, Fredric Jameson and Jean Baudrillard advanced to account for the consequences of the so-called crisis of modernity and its impact on art. Special attention is given to the aesthetic categories that emerged from the breakdown of the pillars of the Western aesthetic building under globalization and postmodernity. From Lyotard, the article picks up his reflections on the crisis of the grand narratives and his notion of the sublime; from Jameson, his theoretical insights on the pastiche and the retro in fashion under the cultural logic of advanced capitalism; and from Baudrillard, the concepts of transaesthetics and aesthetization, and the loss of the aesthetic illusion in the techno-media and market society.KEYWORDSPostmodernism, sublime, pastiche, retro fashion, aesthetization. LES NOUVEAUX DÉCORS DE L’ART. RÉSUMÉCet article examine certaines des thèses que Jean François Lyotard, Fredric Jameson et Jean Baudrillard ont élaborées pour tenir compte des conséquences de la dite crise de la modernité et de son impact sur l’art. Une attention particulière est donnée aux catégories esthétiques qui ont émergé de l’effondrement des piliers de l’édifice esthétique occidental dans le cadre de la mondialisation et du postmodernisme. De Lyotard on aborde sa ré- flexion sur la crise des grands récits et sa notion du sublime ; de Jameson ses vues sur le pastiche et la mode rétro dans la logique culturelle du capitalisme avancé, et, de Baudrillard, les concepts de transesthétique et esthétisation, et la perte de l’illusion esthétique dans la société techno-médiatique et des marchés.MOTS CLÉSPostmodernisme, sublime, pastiche, mode rétro, esthétisation.OS NOVOS ENFEITES DA ARTE. RESUMOO presente artigo passa revista e analisa algumas das teses que Jean Françoeis Lyotard, Fredic Jameson e Jean Baudrillard construíram para dar conta das conseqüências da chamada crise da modernidade e suas repercussões na arte. Presta-se especial atenção a categorias estéticas que surgiram a partir do rachamento dos pilares do edifício estético do Ocidente sob a globalização e a pos-modernidade. De Jameson suas apreciações sobre o pasticho, a moda retro sob lógicas culturais do capitalismo avançado, e, de Baudrillard, os conceitos de trans-estética e estetização, e a perda de ilusão estética na sociedade tecno-mediática e de mercados.PALAVRAS CHAVESPos-modernidade, sublime, pasticho, moda retro, estetização.

scholarly journals Experience teaching Christian ethics in a secular school

2005 ◽  
pp. 305-312
Author(s):  
T. Sannikova
Keyword(s):  
Secondary School ◽  
Human Life ◽  
Christian Ethics ◽  
Spiritual Education ◽  
Experience Teaching ◽  
Moral Crisis ◽  
Good And Evil ◽  
The Ideal

The spiritual and moral crisis in society, which is a sign of the loss of clear ideas about good and evil, when the ideal of a person becomes "successful in human life" and no matter how successful it becomes, when moral laws and human life are worthless, needs urgent return to spiritual sources. As one of the means of spiritual education of adolescents, a Christian ethics elective was introduced at the secondary school №26 in Odessa.

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