scholarly journals Joseph Brodsky: from the tragic to the sublime (The letter in a bottle and The new Jules Verne)

2021 ◽  
Vol 21 (1) ◽  
pp. 94-97
Author(s):  
Maria S. Salinkina ◽  
Keyword(s):  
Emotional Sensitivity ◽  
Joseph Brodsky ◽  
Jules Verne ◽  
The Sublime ◽  
The Aesthetic ◽  
Artistic Manner

The article traces the evolution of J. Brodsky’s poetics driven by the desire to ‘be free from emotional sensitivity’ on the example of the poems The Letter in a Bottle (1964) and The New Jules Verne (1976). The transformation of the poet’s artistic manner is considered through the aesthetic categories of the tragic and the sublime.

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.

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.

Transcending the Sublime: Arctic Creolisation in the Works of Isaac Julien and John Akomfrah

Films on Ice ◽  
2015 ◽  
Author(s):  
Helga Hlaðgerður Lúthersdóttir
Keyword(s):  
Identity Politics ◽  
White Male ◽  
Art Installation ◽  
The North ◽  
The Sublime ◽  
Art Works ◽  
Colonial Legacies ◽  
Contemporary Film ◽  
The Aesthetic

This chapter examines the aesthetic strategies and political impetus of contemporary film artists who challenge the notion of an Arctic explorer as a heroic white male, striding forth on his own to conquer the white sublime. Focusing on Isaac Julien’s video and art installation True North (2004) and John Akomfrah’s The Nine Muses (2010). Luthersdottir foregrounds the myriad ways in which these films and art works partake in a creolisation of the white Arctic. The chapter thereby foregrounds an overlooked and complementary historical and cinematic record, which is explicit about the significance of identity politics and colonial legacies in the north, rather than reifying established representational norms.

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.

The Kantian Sublime and Greatness of Mind

2019 ◽  
pp. 197-214
Author(s):  
Emily Brady
Keyword(s):  
Virtue Ethics ◽  
Natural World ◽  
The Self ◽  
Moral Thought ◽  
Human Exceptionalism ◽  
The Sublime ◽  
The Aesthetic ◽  
Other Regarding

This chapter explores Kant’s discussion of the sublime in the Critique of the Power of Judgment (1790), in which the aesthetic subject becomes aware of a certain kind of greatness of mind. Kant’s scheme emphasizes respect for the moral capacities of the self as part of humanity, as well as admiration for greatness in the natural world. More broadly, his views show how ideas about greatness—if not magnanimity in the narrower sense—flow into philosophical approaches that lie beyond virtue ethics, moral thought, and human exceptionalism. The chapter argues that a comparative relation between self and sublime phenomena is central to understanding greatness of mind. Drawing out this comparative relation supports a deeper understanding of how both self-regarding and other-regarding attitudes feature within sublime experience, and just how this greatness might express itself within an aesthetic context.

Everyday Aesthetics and the Experience of the Profound

2020 ◽  
pp. 173-202
Author(s):  
Patrick Fessenbecker
Keyword(s):  
Eighteenth Century ◽  
Formal Analysis ◽  
Literary Interpretation ◽  
Aesthetic Value ◽  
Literary Aesthetics ◽  
Intellectual Content ◽  
The Sublime ◽  
Everyday Aesthetics ◽  
The Aesthetic ◽  
Deep Thought

The oldest arguments justifying formal analysis of literature, of course, grow out of a longer tradition in aesthetics, one having its roots in the development of a theory of the aesthetic in the eighteenth century. Ultimately, to emphasize the content over the form in literary interpretation is to emphasize forms of aesthetic value other than the beautiful and the sublime: to read for the content, and particularly for the intellectual content, is to value a book because it is deep, thought-provoking, and profound. Yet far from ignoring a text’s aesthetic nature, in fact these latter ways of reading offer the possibility for a renewed justification for literary aesthetics, one especially salient given the deep skepticism that formalist accounts of aesthetic value evoke.

The Black Diamonds of Sydney Harbour

2019 ◽  
Vol 2 (3) ◽  
pp. 645-664
Author(s):  
Ann Elias
Keyword(s):  
Indigenous Peoples ◽  
Mining Company ◽  
Pastoral Area ◽  
The Sublime ◽  
Sydney Harbour ◽  
History Of ◽  
Below Ground ◽  
The Aesthetic ◽  
The City

This article explores the case study of a coal mine that was first tunneled under Sydney Harbour in 1897 but closed in 1931. Specifically, it examines how the history of the mine intersects with aesthetics, race, colonialism, and Indigenous dispossession. Centered on the story of an English mining company that first sought a mine site in a pastoral area of the city, but under public pressure was forced to select instead a grimy working class suburb on the opposite harbor shore, the article argues that environmental aesthetics and tastes in beauty collaborated with extractivism. The argument emerges that economics, art, and aesthetics are inextricably linked in this history and further, that while the mine excited the industrial imagination through the aesthetic of the sublime, and associations with darkness and vastness, it conflicted with colonial settler tastes for the pastoral imagination defined by the aesthetics of the beautiful and its associations with light. The article discusses the context of a settler economy in lands stolen from Indigenous peoples, and how conceptualizations of the sublime and beautiful, as well as dark and light, were aligned with the racialization of the properties of coal and space above and below ground.

The Aesthetic Dimension of Burke's Political Thought

1964 ◽  
Vol 4 (1) ◽  
pp. 41-64 ◽  
Author(s):  
Neal Wood
Keyword(s):  
Political Thought ◽  
Oliver Goldsmith ◽  
Trinity College Dublin ◽  
Political Ideas ◽  
The Sublime ◽  
The Arts ◽  
Vital Interest ◽  
Systematic Effort ◽  
David Garrick ◽  
The Aesthetic

Apparently no systematic effort has been made to ascertain whether a relation exists between the aesthetic theory of Burke's The Sublime and Beautiful (1757) and his political ideas. This omission would be readily understandable if the book were an insignificant and immature effort, or if the author at some later time had drastically altered his views, or if he had lost his interest in the arts. But all the evidence seems to be to the contrary. The work has been appraised as “among the most important documents of its century” to which men of great stature were indebted, including Johnson, Blake, Wordsworth, Hardy, Diderot, Lessing, and Kant. Although Burke did write a first draft while he was an undergraduate in Trinity College, Dublin, he continued to work upon it six or seven more years. Except for the extensive revisions for the second edition of 1759, revisions which did not modify the basic thesis, Burke evidently made no textual changes in the numerous subsequent editions. Nothing that Burke said or wrote indicates that he had second thoughts about the substance of the argument. And to the end of his days he maintained his vital interest in the arts. He was an intimate of Oliver Goldsmith, David Garrick, and Sir Joshua Reynolds, the friend and patron of the two painters, George Barret and James Barry, and a member of the Royal Academy. Nor can the failure to consider the question of the connection between the aesthetics and the politics be due to the unfamiliarity of students of Burke's political thought with The Sublime and Beautiful.

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.

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