scholarly journals Do sublime e do grotesco: a obscenidade em Hilda Hilst

2016 ◽  
Vol 38 (3) ◽  
pp. 29
Author(s):  
Jo A-mi
Keyword(s):  
Immanuel Kant ◽  
Mikhail Bakhtin ◽  
Victor Hugo ◽  
Edmund Burke

Este trabalho tem por objetivo tratar da relação dialógica entre sublime e grotesco na obra A obscena Senhora D, de Hilda Hilst, tendo por base sua condição de ficção contemporânea permeada por recondicionamentos da língua em sua performance no tempo não linear. Nesse sentido, utilizou-se dos estudos sobre o sublime, como conceito histórico e filosófico-literário, nas obras de Longino, Edmund Burke, Immanuel Kant, Victor Hugo e François Lyotard. Das questões referentes às discussões sobre o grotesco e sua interlocução com os caminhos do sublime, tiveram relevante importância os trabalhos de Mikhail Bakhtin e Michel Maffesoli - na relação poético-obscena da obra, debatida em conceitos convergentes, como obscenidade, erotismo, sagrado e profano. Dessas análises, concluiu-se que, em A obscena Senhora D, o sublime e o grotesco evidenciam-se num caráter multifacetado, contraditório, interlocutório e, por isso, não excludente: sedimentando o híbrido fluxo linguístico-imagético da literatura hilstiana.  

scholarly journals Buscando lo infinito: implicaciones de lo sublime en la contemporaneidad / Seeking the Infinite: Implications of the Sublime in Contemporary

2016 ◽  
Vol 5 (1) ◽  
pp. 83-93
Author(s):  
Miguel Angel Gaete Cáceres
Keyword(s):  
Immanuel Kant ◽  
Critical Review ◽  
Edmund Burke ◽  
World Culture ◽  
Contemporary World ◽  
The Sublime ◽  
Alternative Means

ABSTRACTThis article provides a critical review of the concept of the sublime based on Longino, Edmund Burke and Immanuel Kant. From here, we will try to discover the presence of the sublime as an important factor in shaping the contemporary world culture, through its presence in art or in the conception of nature and the environment. Finally, the main objective of this paper is demonstrate how the sublime offers an alternative means to understand the problem of "infinite" and "unlimited" in the context of technology, the emergence of the metropolis and the filtration in the capitalist rhetoric, offering a different focuser in this classic study of aesthetics.RESUMENEl presente texto es un estudio que ofrece una revisión crítica al concepto de lo sublime basándose en la teorización clásica de esta idea, es decir, la adjudicada a Longino, Edmund Burke e Immanuel Kant. A partir de aquí, se intentará descubrir la presencia de lo sublime como un factor relevante en la configuración cultural del mundo contemporáneo, pasando por su presencia innegable en el arte de las vanguardias o en la concepción de la Naturaleza y el entorno. Finalmente, el objetivo central de este escrito es demostrar cómo lo sublime ofrece también una alternativa para comprender el problema de "lo infinito" y "lo ilimitado" en el marco de las tecnologías, la eclosión de las grandes ciudades y su filtración en el sustrato retórico del capitalismo, ofreciendo así una vía diferente en el estudio de este tema clásico de la estética.

HAYDN’S MELANCHOLY VOICE: LOST DIALECTICS IN HIS LATE CHAMBER MUSIC AND ENGLISH SONGS

2007 ◽  
Vol 4 (1) ◽  
pp. 71-106 ◽  
Author(s):  
NANCY NOVEMBER
Keyword(s):  
Eighteenth Century ◽  
Immanuel Kant ◽  
Chamber Music ◽  
Emotional Experience ◽  
Edmund Burke ◽  
Chamber Works ◽  
New Approach ◽  
Self Reflection ◽  
Recent Scholarship ◽  
Francisco Goya

AbstractFrom the nineteenth century onwards the stereotype of Haydn as cheerful and jesting has dominated the reception of his music. This study contributes to the recent scholarship that broadens this view, with a new approach: I set works by Haydn in the context of eighteenth-century ideas about melancholy, those of Edmund Burke, Francisco Goya, Henry Home (Lord Kames), Immanuel Kant and Johann Georg Zimmermann. Their conceptions of melancholy were dialectical, involving the interplay of such elements as pleasure and pain, freedom and fettering, and self-reflection and absorption. I consider the relevance of these dialectics to Haydn’s English songs, his dramatic cantata Arianna a Naxos and two late chamber works. Musical melancholy arises, I argue, when the protagonist of a work – be it the vocal character in a song or the ‘composer’s voice’ in an instrumental work – exhibits an ironic distance from his or her own pain. The musical dialectics in these works prompt listeners, for their part, to take a step back to contemplate the borders and limits of emotional experience and communication.

ROBERTO ALENCAR DO DESENHO À CENA E VICE-VERSA: A CONSTRUÇÃO DO CORPO GROTESCO

2019 ◽  
Vol 10 (2) ◽  
Author(s):  
Wagner Miranda Dias
Keyword(s):  
Mikhail Bakhtin ◽  
Victor Hugo

O artigo investiga os percursos de criação do artista do corpo Roberto Alencar, refletindo sobre a produção do grotesco em seu trajeto criativo, destacando as relações entre desenho e corpo. A análise foi elaborada por meio do estudo de documentos de processos criativos de Alencar, criados no desenvolvimento de seu trabalho, à luz das teorias de Cecília Almeida Salles sobre crítica de processos de criação, que tem como base a semiótica de C.S. Peirce e propõe diálogos com autores como Victor Hugo, Vsevolod Meyerhold e Mikhail Bakhtin.

The Hobbesian Hypothesis in Eighteenth-Century Political Theory

2017 ◽  
Author(s):  
Karl Widerquist ◽  
Grant S. McCall
Keyword(s):  
Eighteenth Century ◽  
Immanuel Kant ◽  
Political Theory ◽  
David Hume ◽  
Private Property ◽  
Adam Smith ◽  
Edmund Burke ◽  
Thomas Paine ◽  
Property System

This chapter shows how “the Hobbesian hypothesis” (the claim that everyone is better off in a state society with a private property system than they could reasonably expect to be in any society without either of those institutions) appeared in Eighteenth-Century political theory. It shows how disagreement about the truth of the hypothesis produced virtually no debate. David Hume, Adam Smith, Immanuel Kant, Edmund Burke, and others asserted its supposedly obvious truth without providing evidence. Lord Shaftesbury, the Baron de Montesquieu, and Thomas Paine voiced scepticism but also provided little evidence. Others, such as Jean-Jacques Rousseau talked about similar issues without clearly taking a position on the hypothesis.

TERRA DOS MORTOS, LUGAR DOS VIVOS: O CEMITÉRIO SANTANA COMO PATRIMÔNIO CULTURAL DA CIDADE DE GOIÂNIA (GO)

2020 ◽  
Vol 13 ◽  
pp. 105
Author(s):  
Daniele Roberta Oliveira de Carvalho ◽  
Ruber P. A. Rodrigues ◽  
Mary Anne Vieira Silva
Keyword(s):  
Immanuel Kant ◽  
Edmund Burke

A partir da ampliação do conceito de patrimônio ocorrido a parir da segunda metade do século XX, o presente artigo pretende investigar quando e como os cemitérios foram incluídos no rol de bens culturais passiveis de patrimonialização. Para tanto, recorremos à História da cultura Material como norteador teórico-metodológico e às Cartas Patrimoniais como suporte documental para a presente análise. O Cemitério Santana na cidade de Goiânia (GO) é o lócus escolhido para abordarmos aspectos inerentes às perspectivas que foram salutares para a entrada dos cemitérios na lista do patrimônio histórico cultural – sobretudo a memória e a estética. Do ponto de vista da análise estética, buscamos nos postulados dos filósofos Longino, Edmund Burke e Immanuel Kant a ideia de sublime aplicada na interpretação da arte tumular do referido cemitério.

O que há de grotesco no riso da cultura trash?

2011 ◽  
Vol 12 (28) ◽  
Author(s):  
Mayka Castellano
Keyword(s):  
Mikhail Bakhtin ◽  
Victor Hugo

Neste artigo, aproximo o estudo da cultura trash (artefatos da indústria cultural que não atendem aos padrões morais e/ou às normas de qualidade técnica e artística dominantes) das importantes contribuições de pensadores de diferentes épocas sobre o grotesco, especialmente Victor Hugo, Wolfgang Kayser e Mikhail Bakhtin. Com base no exercício metodológico da netnografia e com o apoio de conceitos e argumentações teóricas formuladas no âmbito dos Estudos Culturais, analiso de que forma é possível entendermos a fruição do trash realizada por uma parcela da população jovem por meio do uso de sensibilidades estéticas presentes também em outras formas de cultura e em diferentes contextos sociais.

Romanticism as Modern Re-Enchantment: Burke, Kant, and Emerson on Religious Taste

2015 ◽  
Vol 22 (1) ◽  
pp. 1-22 ◽  
Author(s):  
Emily Dumler-Winckler
Keyword(s):  
Immanuel Kant ◽  
Moral Psychology ◽  
Religious Experience ◽  
Edmund Burke ◽  
Critique Of Judgment ◽  
Full Spectrum ◽  
The Sublime ◽  
The World ◽  
Divinity School ◽  
Moral Taste

AbstractThis essay traces the contours of a trans-Atlantic Romantic legacy of aesthetic, moral and religious taste from its inception in Edmund Burke, through its modifications by Immanuel Kant, to its culmination in Ralph Waldo Emerson’s Divinity School Address. In A Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beautiful Burke suggests that religious experience is an aspect of aesthetic and moral taste. Immanuel Kant follows suit in the Critique of Judgment, offering a distinct account of religious taste. Emerson alludes to yet significantly refines aspects of both accounts in his Divinity School Address. Whereas Kant and Burke’s variously stoic accounts depict good religious taste as an experience of alienation from God and from the world, Emerson’s religious agent cultivates a modern spirituality quite at home in the world. Adapting Burke’s re-enchanted moral psychology of taste, Emerson offers a distinctively religious, indeed Christian, form of this modern re-enchantment. Yet for Emerson, refined religious taste allows agents to recognize the full spectrum of normative demands in nature and thus to make a home of such a world.

scholarly journals O conceito de arquitetônica na teoria bakhtiniana: uma abordagem historiográfica, filosófica e dialógica

2017 ◽  
Vol 46 (2) ◽  
pp. 625
Author(s):  
Inti Anny Queiroz
Keyword(s):  
Immanuel Kant ◽  
Mikhail Bakhtin

Nossa reflexão busca abordar o conceito de arquitetônica a partir de um olhar historiográfico, filosófico e dialógico, desde sistemas filosóficos anteriores, para, com isso, compreender como esse conceito se estabelece nas obras de Mikhail Bakhtin, teórico ao qual nos filiamos nesta pesquisa. Na primeira parte deste artigo, abordaremos o conceito de arquitetônica em Aristóteles e Immanuel Kant. Na segunda parte, analisaremos o conceito em Bakhtin, buscando assim demonstrar como foi construído na reflexão do filósofo. 

Drastik und Erhabenheit

2015 ◽  
Vol 63 (1) ◽  
Author(s):  
Benjamin Moldenhauer
Keyword(s):  
Immanuel Kant ◽  
Film Theory ◽  
The Body ◽  
Edmund Burke ◽  
The Sublime ◽  
The World ◽  
Film Reception ◽  
Empathetic Response

AbstractThe essay defines two different modes of filmic violence: sublime and drastic pictures of violence. Based on the definitions of the sublime by Edmund Burke and Immanuel Kant, I argue that the sublime has the tendency to detach the viewer from possible affective end empathetic response to pictures of bodies in pain on the screen. By contrast, the drastic mode has potential to evoke empathetic reactions. Both modes are grounded in specific ways of showing violence: the sublime mode diminishes the bodies on the screen, the drastic mode shows us the faces in close-up and tries to immerse the viewer in the violence.Both definitions are informed by phenomenological film theory (especially the works of Vivian Sobchack), which positions the body of the viewer at the centre of film reception. Nevertheless, the somatic experience is not the only scope of film reception. Films not only show us a filmic world but also suggest a more or less specific way of seeing the world outside the cinema.To this effect, both ways of staging violence have ideological implications. The sublime violence allows the viewer to experience himself as strong and invulnerable, while drastic pictures of violence tend to victimize the viewer.These assumptions are tested on two exemplary instances: the helicopter scene in Francis Ford Coppolas war movie Apocalypse Now and the shower scene in Alfred Hitchcock’s Psycho.

scholarly journals Kolonizacja wewnętrzna Rosji w ujęciu Aleksandra Etkinda

2021 ◽  
Vol 8 ◽  
pp. 213-233
Author(s):  
Andrzej Polak
Keyword(s):  
Immanuel Kant ◽  
Rural Community ◽  
Joseph Conrad ◽  
Mikhail Bakhtin ◽  
Daniel Defoe ◽  
Local Population ◽  
Nikolai Gogol ◽  
Literary Research ◽  
Combination Of Methods ◽  
The Russian Empire

The article aims to present the most important theses contained in the book of an outstanding Russian postcolonial researcher Alexander Etkind. At the heart of his deliberations lies the assumption that the Russian empire not only dominated foreign territories, but also native territories located in the central governorates of the state. The process was accompanied by colonization of the local population, above all — peasants. Etkind considers the Russian serfdom law and rural community as typical colonial institutions. His interests remain in some writers’ attempts to explain the phenomenon of internal colonization. A combination of methods used in historical and literary research results in an interesting interpretation of texts written by Daniel Defoe, Leo Tolstoy, Nikolai Gogol, Joseph Conrad, Immanuel Kant and Mikhail Bakhtin, reflecting their authors’ imperial experience. In the article, I focus on the issues included in the introduction and the first two parts of the book.

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