Sublime, the

2018 ◽  
Author(s):  
Paul Crowther
Keyword(s):  
Eighteenth Century ◽  
Aesthetic Experience ◽  
Sense Of Self ◽  
Rapid Change ◽  
Ancient Philosophy ◽  
Cultural Discourse ◽  
Literary Language ◽  
The Sublime ◽  
Self Transcendence ◽  
The Way

The origin of the term ‘the sublime’ is found in ancient philosophy, where, for example, Longinus linked it with a lofty and elevated use of literary language. In the eighteenth century, the term came into much broader use, when it was applied not only to literature but also to the experience of nature, whereafter it became one of the most hotly debated subjects in the cultural discourse of that age. The theories of Addison, Burke and Kant are especially significant. Addison developed and extended the Longinian view of the sublime as a mode of elevated self-transcendence, while Burke extended John Dennis’s insight concerning sublimity’s connection with terror and a sense of self-preservation. While Addison and Burke encompassed both art and nature in their approaches, Kant confined the experience of the sublime to our encounters with nature. In his theory, the sublime is defined as a pleasure in the way that nature’s capacity to overwhelm our powers of perception and imagination is contained by and serves to vivify our powers of rational comprehension. It is a distinctive aesthetic experience. In the 1980s and 1990s Kant’s and (to a much lesser extent) Burke’s theories of the sublime became the objects of a massive revival of interest, in the immediate context of a more general discussion of postmodern society. Kant’s theory, for example, has been used by J.-F. Lyotard and others to explain the sensibility – orientated towards the enjoyment of complexity, rapid change and a breakdown of categories – that seems to characterize that society.

Haydn, meter, and listening in transition

2010 ◽  
Vol 51 (1-2) ◽  
pp. 141-152 ◽  
Author(s):  
Roger Grant
Keyword(s):  
Eighteenth Century ◽  
Aesthetic Experience ◽  
Recent Trend ◽  
Music And Literature ◽  
Late Works ◽  
The Way

In recent years, music theorists and analysts have devoted a great deal of attention to the phenomenon of hypermeter, drawing some of their most representative examples from the late works of Haydn. Although this recent trend in analysis has shed much light on Haydn’s music, it has left questions of history distinct from the mode of listening it engages. This article argues that the way we understand conceptualizations of listening and aesthetic experience can greatly inform the way that we understand hypermeter and the question of style in history. Drawing on eighteenth-century theories of music and literature, it recontextualizes Haydn’s hypermetric style with respect to a larger world of aesthetic experience.

Gothic and Classical in Eighteenth-Century Criticism

2020 ◽  
pp. 25-54
Author(s):  
James Uden
Keyword(s):  
Original Composition ◽  
Eighteenth Century ◽  
Aesthetic Experience ◽  
Edmund Burke ◽  
The Sublime ◽  
Classical World ◽  
Edward Young

This chapter examines the dynamic and evolving relationship between conceptions of “Gothic” and “classical” in mid-eighteenth-century criticism. It argues that both terms were highly changeable in their content and were rarely imagined as mere opposites. The chapter focuses on three authors, all of whom reinterpreted the classical world as an object of private aesthetic experience rather than as a source of political or ethical examples. In his Conjectures on Original Composition (1759), Edward Young imagines the Roman poets as a giant “spectre,” which threatened to overwhelm modern poets, inhibiting their capacity for original creation. In his Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757), Edmund Burke describes a frightening descent into the Underworld of Virgil’s Aeneid as an opportunity to form homosocial bonds with other male readers. Finally, Richard Hurd in Letters on Chivalry and Romance (1762) describes the classical world as a distant forerunner to a more modern preoccupation with enchantment and imagination. In all three of these authors, the classical world is shifting its meaning and significance. It is becoming, paradoxically, increasingly Gothic.

Haywood: Shaping a Fictional Language of Embodiment

2019 ◽  
pp. 25-68
Author(s):  
Karin Kukkonen
Keyword(s):  
Eighteenth Century ◽  
Joint Attention ◽  
Eliza Haywood ◽  
Literary Language ◽  
Emotional Involvement ◽  
General Terms ◽  
Embodied Writing ◽  
Contemporary Media ◽  
Bodily States ◽  
The Way

This chapter traces how the eighteenth-century novel develops a language of emotional involvement and embodied intensity through the works of Eliza Haywood. It discusses Haywood’s early works in amatory fiction, her later reflections on the mid-century novel, and her translations from the French. Haywood’s works are related to the integration of letters in novel writing and to the context of the theatre, as this chapter works towards an account of embodied style that is embedded in contemporary media ecologies. In more general terms, models of embodiment in fiction are specified through the way in which these media differences give rise to stances in embodied writing and modulations of joint attention between readers and narrators that make the literary language of embodiment go beyond the mere simulation of bodily states.

The Inorganic Plant in the Romantic Garden

2019 ◽  
pp. 86-113
Author(s):  
Natania Meeker ◽  
Antónia Szabari
Keyword(s):  
Eighteenth Century ◽  
Edgar Allan Poe ◽  
Physical World ◽  
Charlotte Perkins Gilman ◽  
Human Consciousness ◽  
The Enlightenment ◽  
The Sublime ◽  
Logical Conclusion ◽  
Ambivalent Relationship ◽  
The Way

This chapter approaches Romantic aesthetics through the “plant horror” of Edgar Allan Poe (1809–1849), who had an ambivalent relationship to Romantic vitalism, and studies the way in which his arabesque vegetality travels into the work of later writers, including Charlotte Perkins Gilman (1860–1935). Poe’s foregrounding of the eighteenth-century notion of “the sentience of all vegetable things” in “The Fall of the House of Usher” (1839) both responds to and undermines Romantic ideas about human affinities with plants. In “Usher,” Poe follows the Enlightenment analogy of human to plant to its logical conclusion in order to expose its aporias; for him, vegetal sentience cannot be contained within any hierarchy of being. At the same time, Poe destroys the Romantic fusional model—in which humans and plants commune within a shared physical world—by focusing on the destructive and rapacious qualities of the vegetal. The transcendental ideas of beauty and the sublime give way in Poe to a vegetality that invades the human consciousness. He suggests that humans might be horrified, rather than delighted, by the calamity that a vegetal modernity represents, even though (and perhaps because) they have no alternative to it.

Aesthēsis and Technē: New Technologies and Lyotard’s Aesthetics

2016 ◽  
Author(s):  
Ashley Woodward
Keyword(s):  
Information Technologies ◽  
Aesthetic Experience ◽  
New Technologies ◽  
Communication Technologies ◽  
Free Play ◽  
Traditional Model ◽  
The Sublime ◽  
Conceptual Meaning ◽  
The Way

This chapter examines Lyotard’s consideration of the way that technologies, and in particular information technologies, reconfigure the nature of aesthetic experience. When art uses communication technologies themselves as its matter or medium, the “traditional” model of aesthetic experience becomes problematised. Lyotard argues that this is the case because information technologies determine or “program” a conceptual meaning in advance of an aesthetic experience. Therefore, we no longer have a situation of the “free play” between sensible forms and concepts that constitutes the aesthetics of the beautiful for Kant. Lyotard argues, however, that this decline in aesthetic experience as traditionally conceived need not be understood negatively: rather, it may be seen positively in so far as it furthers experimentation with materials, and activates an aesthetic of the sublime.

John Ray, physico-theology and afterwards

2011 ◽  
Vol 38 (2) ◽  
pp. 328-348 ◽  
Author(s):  
R. J. Berry
Keyword(s):  
Eighteenth Century ◽  
Intelligent Design ◽  
Trinity College ◽  
Natural Theology ◽  
Biblical Interpretation ◽  
John Ray ◽  
The Way

Ray's most widely read book was his Wisdom of God manifested in the works of creation (1691), probably based on addresses given in the chapel of Trinity College Cambridge 20 years previously. In it he forswore the use of allegory in biblical interpretation, just as he had done in his (and Francis Willughby's) Ornithology (1678). His discipline seeped into theology, complementing the influence of the Reformers and weakening Enlightenment assumptions about teleology, thus softening the hammer-blows of Darwinism on Deism. The physico-theology of the eighteenth century and the popularity of Gilbert White and the like survived the squeezing of natural theology by Paley and the Bridgewater Treatises a century after Wisdom … , and contributed to a peculiarly British understanding of natural theology. This undergirded the subsequent impact of the results of the voyagers and geologists and prepared the way for a modern reading of God's “Book of Works” (“Darwinism … under the disguise of a foe, did the work of a friend”). Natural theology is often assumed to have been completely discredited by Darwin (as well as condemned by Barth and ridiculed by Dawkins). Notwithstanding, and despite the vapours of vitalism (ironically urged – among others – by Ray's biographer, Charles Raven) and the current fashion for “intelligent design”, the attitudes encouraged by Wisdom … still seem to be robust, albeit needing constant re-tuning (as in all understandings influenced by science).

Maclaurin on Occasionalism: A Reply to Ablondi

2016 ◽  
Vol 14 (1) ◽  
pp. 125-135
Author(s):  
Patrick J. Connolly
Keyword(s):  
Eighteenth Century ◽  
Recent Article ◽  
Gravitational Attraction ◽  
Matter Theory ◽  
Key Features ◽  
Short Essay ◽  
The Way

In a recent article Fred Ablondi compares the different approaches to occasionalism put forward by two eighteenth-century Newtonians, Colin Maclaurin and Andrew Baxter. The goal of this short essay is to respond to Ablondi by clarifying some key features of Maclaurin's views on occasionalism and the cause of gravitational attraction. In particular, I explore Maclaurin's matter theory, his views on the explanatory limits of mechanism, and his appeals to the authority of Newton. This leads to a clearer picture of the way in which Maclaurin understood gravitational attraction and the workings of nature.

Scots and Access to Spanish America from Before the Union to 1748

2018 ◽  
Vol 38 (1) ◽  
pp. 73-87 ◽  
Author(s):  
Bruce Lenman
Keyword(s):  
Eighteenth Century ◽  
Spanish America ◽  
Political Life ◽  
British State ◽  
Scottish Politics ◽  
Partial Integration ◽  
The Way

This article begins with the idea that there was a vigorous political life in Scotland in the first half of the eighteenth century which could focus on issues other than Jacobitism or government patronage. The article focuses on the non-dynastic issues in Scottish politics that predated the Union and which carried on into the Westminster parliament to the accompaniment of considerable activism in Scotland, and a distinctive contribution from Scottish members of both houses of the legislature. The example here examined is the burning issue of securing commercial access to the forbidden lands of Spanish America. Studying it reveals very clearly that ‘The theme of Scotland's partial integration into the British state’ and the way in which it ‘was never wholly successful’, goes back to the very start of the eighteenth century.

Gadamer’s Concept of Aesthetic Experience as a Possibility for the Orthodox Biblical Theology

2014 ◽  
Vol 6 (3) ◽  
pp. 378-407
Author(s):  
Zdenko Š Širka
Keyword(s):  
Aesthetic Experience ◽  
Biblical Theology ◽  
Main Thesis ◽  
New Material ◽  
The Way

Abstract This article finds its inspiration in the new interpretations of Gadamer’s hermeneutics, which underline the turn in his later period, and which focus on the conception of aesthetic experience as an experience of transcendence. The main thesis is that the understanding of artworks, as Gadamer describes them in contrast to the Kantian subjectification of aesthetics, can be paralleled with the way Orthodox biblical theology struggles to approach Holy Scripture in the context of Church and Tradition. The aim of this article is to bring new material to the growing reception of Gadamer among Orthodox scholars, and to initiate further discussion on the topic by showing the parallels and areas where this reception could continue.

Drezno w relacjach polskich osiemnastowiecznych peregrynantów. Rekonesans .

2020 ◽  
Vol 36 ◽  
pp. 26-43
Author(s):  
Marcin Pliszka
Keyword(s):  
Eighteenth Century ◽  
Social Life ◽  
The City ◽  
The Way

The article analyses descriptions, memories, and notes on Dresden found in eighteenth-century accounts of Polish travellers. The overarching research objective is to capture the specificity of the way of presenting the city. The ways that Dresden is described are determined by genological diversity of texts, different ways of narration, the use of rhetorical repertoire, and the time of their creation. There are two dominant ways of presenting the city: the first one foregrounds the architectural and historical values, the second one revolves around social life and various kinds of games (redoubts, performances).

Sign in / Sign up

Export Citation Format

Share Document