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In the Critique of practical reason, Kant develops the foundation of moral law in its objective and subjective aspects. After claiming that it is plausible to postulate the determination of will only through pure reason, it was necessary for the philosopher to demonstrate how it becomes conscious and acceptable to the moral agent. In this step, he examines the feeling of pleasure and displeasure, to which he associates, at first, the humiliation of the will given to the satisfaction of the senses, so that in the subject emerges a new quality of feeling, respect, also called moral sentiment. The same strategy is found in the third critique, where the constraint, this time, acts on the imagination, unable to encompass the sublime immensity with the help of understanding. The displeasure that comes from it leads to the recognition of reason as a higher faculty and, from it, to the pleasure that comes from the conscience of the moral law as a higher destination. To consider the way in which the subjective assimilates the moral law, here it is intended to think it under the hypothesis of being it, rather, through embarrassment and displeasure, not only founded on the freedom, but also on the humiliation of presumption. The argument follows Kant’s works on ethics, beginning with the Groundwork of the Metaphysics of Morals, then follows the path of the second to the third criticism. In this journey, we intend to examine the place that the feeling of pleasure occupies in the a priori foundation of the moral law, whether in the analytical of practical reason or in the analytical of the beautiful and the sublime.

In the Critique of the Power of Judgment, Immanuel Kant argues that the beautiful is the symbol of the morally good. This paper argues that this claim is valuable as a conceptual connection between aesthetics and morality due to its ability to account for our intuitions while also not falling into the various conceptual issues into which other ways of connecting the two subjects fall. In the first chapter, the paper argues that four central characteristics of beauty which Kant argues for can be grounded with minimal relation to Kant's overall system. In the second chapter, the paper expands upon the sparse discussion Kant gives of symbolism, for the neglected purpose of having a clearer sense of the original claim Kant makes. In the course of this chapter, the largely undetermined Kantian category of 'ideas of reason' is retooled with respect to the possibility of having notions that require a sense of agency in others and an aside on aesthetic ideas and their connection to art and symbolism is considered. In the third chapter, the paper gives a brief exploration of certain core characteristics of morality before arguing first that the beautiful is a symbol of the morally good and second that the beautiful is (in a strong sense) the primary symbol of the morally good. In the course of this argument, the paper considers the possibility of the sublime (as posited by Paul Guyer) and aesthetic ideas being alternative symbols of the morally good, but finds that each has a different relationship to the morally good. The third chapter ends with some thoughts about the implications of the beautiful being the symbol of the morally good for moral education, and these considerations carry over into the conclusion. The paper concludes with some comparisons between the proposed symbolic relationship between beauty and morality and other possible ways of connecting the two, as well as a final discussion about the value of a sense of the beautiful for our moral lives.Also included are two appendices. The first discusses beauty with an eye towards Kant's systematic philosophy, while the second considers a possible radical implication of the paper's newly refined notion of ideas of reason and a certain quality of beauty --- subjective universality --- for the foundations of Kant's moral theory.

This paper interrogates the connection between entities that hover in the liminal state between life and death (such as vampires and spirits) and the manner in which these entities relate to Alaya Dawn Johnson’s conjurings of alternate political structures and hierarchies in her Spirit Binders series. Johnson’s alternate hierarchies are compelling primarily because they are both flawed and liminal. These hierarchies contain gateways between life and death, between material reality and spiritual reality. An ecoGothic lens is applied to these texts as they deal with climate-related disasters and the ways in which the texts instigate not just heroism but also monstrosity. In Gothic fiction, supernatural tropes such as the Vampire, spirits, and intermediaries are often signposts towards psychological states such as Terror and its relation to the Sublime. In Gothic fiction, very often, vampires, spirits and other similar creatures are connected to a hierarchy or community of sorts. A postcolonial Gothic reading of Gothicized texts, however, interrogates the power relations, the sense of haunting underscoring the text as well as the discourse of Terror in relation to the Other. I argue that Johnson’s writing enables the reader to peer in between the veils of life and death to unearth the darker sides of human nature, but very often these glimpses are not just about personal choices. These glimpses reveal strategies and missteps that guide the ways in which those hierarchies shape those choices,which Johnson then subverts in her tales.

In the social sciences, secrecy is seen as a power relation of inclusion–exclusion, between those 'in the know' and dispossessed 'outsiders'. This is translated spatially as enclosure – shaping outsiders by cordoning off certain social relations – and embodies a social theory of mystification, where domination involves masking reality's oppressiveness from those exploited. Historical and more recent military fortifications, including modern U.S. military bases abroad, have been studied as creating this social effect. This article argues that today's counter-terrorism challenges this spatial model of secrecy and power. In order to project authority and disempower outsiders, enclosure must first be represented as the appropriation and hiding of space. In post-colonial spaces of secretive U.S. counter-terrorism, this projection of meaning encounters social relations that shape space differently. Using theories of colonial archives, the article analyses a new U.S. drone base in Niger, tracing its representation in news coverage as an important hub of U.S. military activities. Repeated media attempts to demonstrate sublime secrecy and U.S. authority over the Nigerien desert were complicated by patterns of environmental vulnerability, local indifference, and images of underwhelming emptiness. These incongruities undercut any representation of U.S. secrecy as effective and the base as an anchor of military power. This analysis suggests new ways of understanding secrecy’s spatial dynamics and the legitimisation of counter-terrorism.

The article analyzes the aesthetic views of Friedrich Hölderlin, and, first, his understanding of the categories of the Beautiful and Sublime. Particular attention is paid to the comparison of Hölderlin's views with the aesthetic teachings of Plato and Immanuel Kant, who had a great influence on the German poet. The author of the article concludes that Hölderlin sought to unite the Platonian and Kantian understanding of beauty, seeing the similarity between the concepts of Plato and Kant in the question of the source of the beautiful. The central for aesthetics of Hölderlin was the problem of combining the spheres of aesthetic and ethical, to solve which he relied on the idea of Kant about beautiful as a symbol of the moral good and the Teaching of Plato on the climbing of the soul to the Good. Hölderlin pays less attention to the theoretical development of the category of the Sublime than to the comprehension of the category of the Beautiful, however, in his writings, the Sublime is present implicitly, and Hölderlin's understanding of this category is close, on the one hand, to Platonian, bringing together the Beautiful and the Sublime, and, on the other, to Kantian understanding, which brings the Sublime together with the idea of infinity, God and the sphere of morality. The conclusions to which Hölderlin comes, are far from Platonism, and from Kantianism. The poet concludes about the central and leading role of poetry and poetic gift in the knowledge of the world, which should be aesthetic. This indicates a romantic way to interpret Hölderlin's aesthetic concepts of Plato and Kant.

Everyone in this globe wants to become happy in one’s life. But very few becomes successful in doing so. On careful pondering it is apparent that it is possible only after the acquisition of physical, mental, social and spiritual well being. One of the obstacles in attaining it is non-communicable diseases. Available country-level evidence indicates that these diseases pose a tremendous economic burden that can be felt far beyond the health sector. In fact, according to the World Economic Forum’s annual risk report, non-communicable diseases have been determined a major risk to economic loss by global business leaders and decision makers. The efforts made by Government of India and the States have not been able to check rising burden of non-communicable diseases owing to limited scale of implementation. There is an urgent need for a comprehensive scheme that should focus on health promotion and prevention of these diseases and their risk factors at various levels across the country. Ayurveda, the most ancient Indian healing science, describes a lot of measures to prevent and manage diseases like these. Achara Rasayana is one amongst these measures, which is a code of conduct helpful in attaining a healthy and disease-free living. This article details the various aspects of this priceless measure capable of reducing the Health Budget considerably in the interest of national prosperity.

espanolEste articulo se centra en los testimonios griegos y romanos sobre Apolonio de Rodas, con el fin de aclarar lo que los antiguos sabian sobre el poeta de Argonautica. Al analizar un numero notable de autores, se descubre que los escritores antiguos se refieren rara vez a la vida de Apolonio o a la composicion del poema. Mas bien parece haberles interesado no solo las referencias a las leyendas de los Argonautas que contenia el poema acreditado, sino tambien las obras eruditas que no se han conservado (en particular, las κτίσeις). Algunos autores (el tratado De lo Sublime de Dionisio Longino, Quintiliano, Fronton, Gelio, Macrobio y Servio) mencionaron tambien a Apolonio en pasajes relacionados con cuestiones literarias y utiles para hacerse una idea de algunos aspectos de la recepcion antigua del poema. italianoThis paper focuses on Greek and Roman testimonies on Apollonius of Rhodes in order to clarify what the Ancients knew about the poet of Argonautica. By analysing a representative number of authors we find out that ancient writers rarely refer to Apollonius' life or to the composition of the poem. What rather seems to have interested them was not only the references to the Argonauts legends which the authoritative poem contained but also the not survived erudite works (in particular the κτίσeις). Some authors also (Dionysius Longinus' On the Sublime, Quintilian, Fronto, Gellius, Macrobius and Servius) mentioned Apollonius in passages concerning literary questions and useful to get an idea of some aspects of ancient reception of the poem. EnglishThis paper focuses on Greek and Roman testimonies on Apollonius of Rhodes in order to clarify what the Ancients knew about the poet of Argonautica. By analysing a representative number of authors we find out that ancient writers rarely refer to Apollonius' life or to the composition of the poem. What rather seems to have interested them was not only the references to the Argonauts legends which the authoritative poem contained but also the not survived erudite works (in particular the κτίσeις). Some authorsalso (Dionysius Longinus' On the Sublime, Quintilian, Fronto, Gellius, Macrobius and Servius) mentioned Apollonius in passages concerning literary questions and useful to get an idea of some aspects of ancient reception of the poem.

This article reconstructs Jean-François Lyotard’s theory of the sublime in contemporary art, focusing on his claim that such art ‘presents’ the unpresentable, and tracing its origins in Kant’s account of the sublime. I propose that Lyotard identifies a difficulty concerning Kant’s account: to understand why the disparate elements in the experience of the sublime (idea of reason, sensible representation) should be synthesized to form that experience. Lyotard recasts this difficulty as a pragmatic problem for artistic practice – how to ‘testify’ to the absolute in a non-absolute, sensibly perceivable object (the artwork) – that can be understood to drive avant-garde artistic experimentation.

We are going through a very challenging period in human history. Not only has the COVID-19 pandemic had a disastrous effect on people and countries in all parts of the world, but also many other dangerous and life threatening problems have to be addressed and overcome, especially the environmental crisis, huge disparities in income and wealth, systemic racism, and conflicts between different genders, groups, regions, countries, and cultures. In order to come to grips with these problems, and others, it is imperative to make transcendental and not just transformational changes in our lifestyles, values, worldviews, actions, behaviour, and ways of life. The key to this lies in creating an effective balance between materialism and spiritualism, as well as placing a much higher priority on the cultivation of spirituality in our lives in the traditional and contemporary sense. Not only will this make it possible to reduce the colossal demands we are making on the natural environment – largely because most spiritual activities are "human intensive" rather than "material intensive" and therefore don’t consume as many natural resources as most other activities – but also it will enable present and future generations to experience a great deal more exuberance, exhilaration, and ecstasy in life without having to resort to drugs and other substances and devices to create "highs" and "peak experiences" because spiritual activities achieve this naturally. Many of these activities involve participating in causes that are greater than ourselves, joining protest movements aimed at creating more equality and justice in the world, going within ourselves to discover who we really are and what we were intended to realize in life, broaden and deepen our experiences in the arts, cultures, and the cultural heritage of humankind, and engage in explorations in nature and the natural realm that are capable of bringing us into contact with the sublime and possibly even the divine.

Em sua vasta obra, Jacques Rancière tem apontado com recorrência para modos de entendimento da noção de representação e suas normativas de organização do fazer, do ver e do julgar. Este texto procura esclarecer em que medida se torna possível estimar, nos registros do que Rancière denomina o “regime estético das artes”, a expressão artística de acontecimentos ditos impensáveis ou irrepresentáveis. Analisar nessa chave a obra (musical e visual) de William Basinski The Disintegration Loops, em torno doa atentados de 11 de setembro de 2001, permite pensar modos de inserção de uma arte não representativa no interior de um contexto de resposta afetiva à catástrofe, bem como questionar criticamente a valorização do conceito de sublime sobre o pano de fundo de uma suposta crise pós-moderna da representação.

Dans les Panégyriques de saint Gorgon, Bossuet exploite la topique du manger et du boire, et la recatégorise en fonction du paradigme du dogme catholique : elle ne participe plus à l'expression de l'abaissement, mais à l'expression de la grandeur du christianisme. Cette construction paradoxale du sublime chrétien sous-tend une conception du langage comme manducation et comme digestion : la construction topique fait émerger la dimension légendaire du récit du martyre - cas-limite de fiction narrative -, qui est une composante de la poétique du panégyrique., In the Panegyrics of saint Gorgon, Bossuet uses the topics of eating and drinking, and changes its meaning under the paradigm of catholic dogma : it doesn't help any more to express humiliation, but to express the greatness of christianism. This paradoxical construction of christian sublime forms the bedrock of an approach of language as eating and digesting : the topical construction raises the legendary aspect of the narrative of martyrdom - a border case of narrative fiction -, which is itself a component of the poetics of panegyric.

Just after World War II, mounting evidence marked the dawn of the geological epoch dubbed the Anthropocene . Nuclear explosions deposited radioactive debris in the geological strata, combined with an acceleration in resource extraction, population growth and energy consumption. In this light, this paper aims to explore the affective dimensions of the multiplicities of sounds that are interconnected to nuclear materialities. We argue that mediations of nuclear sounds in these forms of audio instances render nuclear sounds comprehensible and challenge existing representations of nuclear power. This paper will bring into conversation an archive of soundscapes of the nuclear epoch – for example the sound of beeping in a nuclear power plant that produces electricity, the Geiger-Muller counters that civilians used following the Fukushima-Daichii plant explosion, and the music composition by JLiat of the sonic representation of atomic testing on Bikini Atoll in 1946. Engaging with these sounds serves to make sense of the nuclear sublime and offer a possibility of connecting with the “otherness” of nuclear materials. These sonic instances also bind people in collective ecological experiences, whilst making us more attuned to voicing the modalities of a damaged planet. Sound can serve as an articulation of affects that emerge between human and non-human materialities in a damaged planet. These conceptualizations of sound are used to articulate the ways individuals or groups embody their relationships to ecological environments. Through an interdisciplinary lens, the paper aims to explore the mechanics of sound in nuclear infrastructures and devices to challenge common metaphors about nuclear energy. Through the analysis of these soundscapes, we demonstrate that exposing these entanglements between human and nuclear materialities can help us make sense of the sociocultural dimensions of living in a radioactive planet. How to cite this article: Pantsidou, Maria and Jade J. Li. "Nuclear Soundscapes: Exploring Sound in Radioactive Environments." AM Journal of Art and Media Studies 25 (September 2021): 1-12. doi: 10.25038/am.v0i25.458 Article received: April 15, 2021; Article accepted: June 21, 2021; Published online: September 15, 2021; Original scholarly paper

Islam is not merely the set of religious rituals or beliefs but a complete way of life. There is not even a single matter, no matter how peculiar, awkward or dull it may seem, about which Islam does not deals or directs. In all behind every act, including tourism, there is sole purpose seeking the pleasure of God-Almighty Allah, by following His commandments. Islam encourages travel or tourism and hospitable behavior, and unlike west connects it with the most sublime and honorable values and morals. It is in this backdrop, the focus of the present study is ‘Tablighi Jamaat’- an Islamic revival movement, founded by Maulana Ilyas in Mewat region near Delhi-India, around 1920’s. This movement has come to establish its presence surprisingly in and over one hundred and fifty countries throughout the world with a large number of adherents in between 100 to 150 million. This is principally, because of its unique ‘travel and tourism’ approach, which it has adopted as a daw’ah (invitation towards Islam) methodology. Consequently and interestingly, because of this fact ‘the travel and tourism approach,’ the movement has also been named as ‘travelers in faith’. This paper is primarily based on secondary sources and the main objective of the paper is to provide an insight into the religious tourism of Tablighi Jama’at.

According to recent accounts, we experience the emotion of “being moved” when a situation brings into play our core values. What are the core values evoked by nonhuman landscapes, however, particularly as the distinction between man-made and natural environments becomes increasingly blurry in the so-called Anthropocene? That is the central question tackled by this article. I start by rethinking the sublime as an affect that, since Romanticism, has shaped Western attitudes toward nature. I argue that today's climate crisis calls for an expansion of our affective engagement with the nonhuman: the sublime can be part of our emotional repertoire, but only if it is complicated by feelings that point to constitutive human–nonhuman entanglement.

Like other spaces of the Enlightenment, the sublime was what Michel de Certeau might have called “a practiced place.” Its rhetorical commonplaces, philosophical terrains, and associated physical environments were cultivated, shaped, and framed by human action and habit. But can the sublime—epiphanic, quasi-spiritual, unmasterable, extraordinary—ever really become a habit? Is it possible, even natural, to become habituated to sublimity? Taking as its point of departure the Aristotelian claim that “habit is a second nature,” this article explores the counterintuitive relationship between habit and the sublime. It focuses not on that eighteenth-century “cultivar,” the natural sublime, but on sonic sublimity, exploring on one hand overwhelming sounds, and on the other a conceptualization of sound itself as a sublime phenomenon stretching beyond audibility to fill all space. As this exploration shows, both the sublime and habit were seen as capable of creating a second nature, and prominent writers connected habit, practice, or repetition to the sublime. Equally, however, there are points of friction between the aesthetic of the sublime and philosophies of habit, especially in the idea that habit dulls or removes sensation. This is a prominent idea in Félix Ravaisson's landmark De l'habitude (1838), a text currently enjoying renewed attention, and one that apparently stems from Enlightenment attempts to explain sensation, consciousness, and freedom. Similar concerns inform the eighteenth-century sublime, yet the logic behind the sublime is at odds with the dulling of sensation. The article closes by touching on the reemergence of “second nature” in contemporary art oriented toward the sublime, and on the revisions of Enlightenment nature this involves.

John Rundell’s Kant explores the themes of imagination, anthropology and freedom across the entire Kantian corpus. The book casts a revealing light on Kant’s conception of the imagination. It does ...

O presente artigo tem como objetivo a investigação do modelo de produção artística da pós-modernidade - interartística, auto reflexiva e fragmentada. Para tanto, o filme A casa que Jack Construiu (2018), de Lars von Trier, será utilizado. O filme de Trier apresenta os relatos de um serial killer cujas pretensões artísticas se delineiam como espécie de ensaio sobre as relações entre a performance estética e o mal, radicando no solo árido da contemporaneidade ecos corrompidos das antigas ambições do gênio romântico. Pretende-se, para tal, investigar o modo pelo qual o filme opera, de maneira consciente, o pastiche da estética do sublime, a partir da apropriação das referências da alta cultura artística e literária, evocada por meio de um processo de bricolagem, em que a distorção se imprime como atestado da angústia criativa na contemporaneidade.

El estudio de las valoraciones estéticas está presente en los primeros escritos de David Hume y llega a su formulación madura en los Ensayos morales políticos y literarios con la propuesta de una norma de gusto que permite guiarlas y modificarlas. En el presente trabajo nos proponemos mostrar qué características posee lo que hoy llamaríamos la “experiencia estética” en el pensamiento de Hume a fin de determinar por qué en los escritos posteriores al Tratado de la naturaleza humana no es incluido el placer de lo sublime. Nuestra hipótesis es que dicha exclusión responde a una contradicción o incompatibilidad entre este deleite y la moralidad, y no a un desinterés u omisión acrítica por parte del filósofo de un aspecto del gusto que tuvo marcada influencia en los escritores británicos de comienzos y mediados del siglo XVIII.

In the words of Olivier Pere, Serra’s discoverer at the Cannes Festival Directors’ Fortnight, Serra’s cinema ‘represents the loveliest cinematographic appearance in the 2000s, because it is complet...

No other trope captures the perceived complexity of schizophrenia and the epistemological, clinical, ethical and phenomenological aporias it poses than the phrase “the sublime object of psychiatry”...

Emmanuel Levinas’s doubts about the ethical value of artistic beauty have been widely acknowledged by the vast majority of Levinas’s commentators. However, though it is true that in “Reality and Its Shadow” Levinas persistently rebukes artistic beauty for its nonethicality, it is undeniable that he at least upholds the value of artistic criticism and modern literature. In this article I intend to relate Levinas’s exploration of the possibility of spiritual–ethical teaching in literature to Immanuel Kant’s reflections on the relation between the feeling of beauty, that of sublimity, and sensible feeling in his third Critique. This up-close comparative examination fosters understanding of Levinas’s religious and philosophical approach to the sublime elements in some literary works, especially those of Fyodor Dostoevsky.

O presente trabalho resulta de um estudo pertinente a origem e a trajetória do profissional que conduz uma das mais antigas e mais importantes profissões do mundo: o professor. Responsável pela formação do indivíduo e grande contribuidor na construção da cidadania de um povo, jamais se curvou diante dos obstáculos ou deixou de lutar pelo porvir das luzes do conhecimento. No curso de sua missão, os seus olhares não se restringem apenas aos indivíduos que encontram-se entre quatro paredes, mas a todas as pessoas que compõem a sociedade. Cercado por uma enxurrada de desafios, o otimismo e a certeza de fazer a diferença é o que lhe propicia o avante. É notório que em seus ombros, são postos os mais pesados fardos de compromisso e responsabilidade. No decorrer deste estudo utilizou-se a pesquisa bibliográfica embasada em teóricos e em algumas fontes oficiais que foram imprescindíveis para a sua realização. O mesmo objetiva explicitar o surgimento do professor e a importância de sua missão no norteamento da sociedade. A obtenção dos resultados proporcionou reflexões e o aumento de admiração, afeto e reconhecimento pela tão sublime missão conduzida pelo professor.

This essay considers the politico-aesthetics of infrastructure by focusing on poems that anticipate, justify, and critique internal improvements, from Joel Barlow’s early Republican vision of the Erie and Panama Canals to texts that document the ruin caused by the works Barlow imagined as glorious. Historical scholarship has long assessed the mania for cutting roads and canals into the landscape. But engaging an emerging infrastructuralism—and turning to imaginative texts that exist underneath the ground typically trod by US literary studies, from Philip Freneau’s celebratory ode to the Erie Canal to Harriet Beecher Stowe’s and Nathaniel Hawthorne’s ironic canal travel sketches to Margarita Engle’s recent historical verse-novel tallying the devastations of the Panama Canal—this essay identifies an infrastructural dialectic in which writers view infrastructure, initially, as awesome so as to justify its ecological and social violence and, subsequently, as banal so as to render it invisible within the settler state. Oscillating between awe and irritation, the sublime and the stuplime, then, these texts both expose the rhythm of infrastructure’s long—that is, low—relation to the structure of coloniality and, in Engle’s case, model how to disrupt it so as to imagine a more just life “after” infrastructure.

This article addresses the increasing levels of complexity and abstraction that digital technologies produce, which generate a feeling of amazement nowadays similar to what the philosophy of art and aesthetics deemed the experience of the sublime. Through the idea of the “digital sublime”, we aim to find ways to find direction in this vertiginous world. Our intention is to research the extent to which art and design can function as mediators of scales that translate the digital sublime into concrete images that are more digestible, as well as easy to understand and perceive. We believe this is one of the challenges that these disciplines must face in our era governed by extra-human scales, both technological (the cloud, artificial intelligence, 5G, etc.) and geological (the Anthropocene and global climate change). With this in mind, we will analyse the work of several artists whose careers reflect their commitment to these issues. If we, and our bodies, are constantly translated into data, can art and design reverse meaning and make our data transform into bodies in such a way as to produce an aesthetic (sensible) experience of them? Can this help us to understand digital infrastructure and its materiality in a more intuitive and approachable way so that a body can imagine and/or visualise it? Can these actions encourage the production of collective emancipation strategies that allow us to be active agents when reconfiguring the governance and algorithmic regulations imposed on us?

This study explores the “Sublime” and aims at clarifying the very ‘understood’ as well as ‘misunderstood’ figure or image of God(s) and showing how the established and vivid definitions of the Almighty can be discarded with the help of certain ‘Infinist’ concepts and the ‘De-Humanization’ of God. It also aims at presenting a new perspective towards the understanding of the ‘humanization’ that happened and shows the loop-holes in its definition i.e. given to date all around the world. This paper focuses upon searching the acceptability and validity of Rene Descartes’ Ontological Argument, through which I examine the image of God as I find the image of God being repeated and, therefore, I would also raise the understandings from the Ontological Argument which is later debated through the concept of “theodicy” by Leibniz and which is altered and given an altered definition by H.P Lovecraft in the era of modernization. There has been a repeatation in the understanding of God and it’s Image. Infinism supports my statement, as it speaks of this Literature loop which is present and misunderstood very commonly as something new. A comparative methodology has been used in order to study the various theories upon God or Sublime from different ages, in order to study the changing images of God and the reasons behind it. The article presents my unique understanding of God that is different from the romantic understanding and the concept propogated in Monotheism.

The female short story emerged in Iran in 1949 by writer Simin Daneshvar followed by a number of female writers, such as Shahrnush Parsipur and Goli Taraghi. After the Islamic Resolution, the number of female writers has significantly increased, and women used such revival in the area of short story to reveal their issues and points of view using their experiences that no one else has ever experienced. Woman was the focus of many of their stories, as woman is the one responsible for reforming the family, who is the cornerstone in the Iranian society. Female writers gave much attention to the image of mother in their stories for being the family pillar and the secret beyond its continuity, was having, and still have a sublime position in all societies. Not only did female writers highlight the stereotypical image of mother, but also they revealed a negative image in some stories, and other stories addressed some women issues. This paper tackles the image of mother in female short stories, in the light of social transformations after the Islamic Revolution and the outbreak of the Iranian - Iraqi War, through a number of selected stories by modern writers, namely Zahra Zavarian, Fariba Vafi, Maryam Jamshidi, Maryam Sabbagh Zada and Manijeh Armin.

Auteur cosmopolite aujourd’hui oublié, Martin Sherlock (1750-1797) connut par ses ouvrages une large diffusion européenne. L’itinéraire des idées de Sherlock sur Shakespeare, de l’Italie à la Grande-Bretagne, ne témoigne pas seulement de la diffusion progressive, et bien connue, de la connaissance et de l’appréciation de Shakespeare dans l’Europe de la fin du siècle des Lumières. Outre le fait que le passage des écrits d’un pays à l’autre éclaire les horizons d’attente différenciés, l’expérience viatique italienne du révérend irlandais enrichit son regard et lui fait trouver de nouveaux moyens d’exprimer, notamment par le détour du paysage du golfe de Naples, une esthétique alternative à celle que prônait Voltaire. Ces textes témoignent clairement d’un changement esthétique majeur, que les romantismes européens théoriseront dans leurs manifestes. Martin Sherlock (1750-1797) is an Irish and cosmopolitan writer largely forgotten nowadays, but he enjoyed a European fame during his lifetime. The path of his ideas on Shakespeare, from Italy back to Britain, does not only witness the well-known diffusion of the knowledge and critical appreciation of the Bard through Europe but also reveals the peculiarities of the several critical contexts through which Sherlock’s writings travelled. Moreover, the travel experience of the author transformed his gaze and gave him new means to develop his critical convictions, and challenge those of Voltaire. He notably used the landscape of the Neapolitan gulf as a visual paradigm for his ideas, which were later expressed in a theoretical way in the manifests of the romantic era.

The Quran is the fundamental source by which a person knows his Creator through the knowledge of the names of Allah and His attributes, which represents the subject of the unification of Allah and affects the faith of a Muslim, train his soul and conscience and refine his behavior. Thorough examination of the names and attributes of Allah in the Qur’an reveals that both the names and attributes can be found in either of the two instances: in a joint form or in isolation to show that in both cases they carry different meanings, so the study aimed at explaining the names and attributes of Allah, in both of the two instances in some verses of the Quran. The study followed the descriptive and empirical methods. The paper found that the names and attributes of Allah are tawqifiyyah,(Divine), there is no room for personal reasoning, and that the names and attributes of Allah signify perfect and sublime qualities, It was also discovered by the study that the name of (Allah) Al-‘Azīz (The Almighty) was associated with wisdom (Hikmah), the name of (Allah) Al-Laṭīf (The Gentle) with mercy (Rahmah) and the name of Al-‘Afuw (The forgiver) with power and ability (Qudrah). Based on this, the more a person knows Allah the more he reveres Him and follow His commandments. The research finally recommends that to guard the behaviour of a Muslim society, people need to learn the meanings of names and attributes of their Creator.

This paper aims at analysing the concept of the sublime, which is a pioneering concept of the English Romantics poetry, in relation to the French revolution in the works of Edmund Burke. Burke, unlike all other thinkers who view sublimity as a delightful and elevating feeling, perceives sublimity as an element of dangerous and terrifying incidents and objects mainly in relation with the great incident of the French Revolution. Hence, the paper concentrates on that essential metamorphosis in the content of the concept from progression to regression in the concept of sublime. Burke himself witnessed the revolution in France and propounded his philosophical viewpoints revolving around the notion of the sublime. He contended that the sublimity is whatsoever that brings about terror or is what terrifies the subjects. From this, he concluded that the French revolution was sublime because it was dangerous and threatened the natural laws and order, religion and God’s genuine sublime, traditions and constitution. In this paper, in addition, his ideas to illustrate sublime will ultimately, to some degree, be evaluated and criticised. The second part will be dedicated to demonstrating the aesthetics nature and aspect of the concept of the sublime. While the third part will display the relation of the concept, the way it is exhibited in chapter two, in relation to the great revolution in France.

Herman Hesse’s seminal text, Siddhartha is the story about the journey of a man on his path to Self-Actualization. The story deals with the life of the protagonist, Siddhartha, who along with his friend, Govinda embarks on a journey for the search of the authentic Self. Each of them follows a distinct path, leading to vastly different experiences. Siddhartha focuses on the events that happen with the character of Siddhartha and the ways in which they influence and alter him. The book in itself takes the form of a quest and it is only in the end when Siddhartha meets Govinda that he hints at the knowledge that he has acquired. This, however, is not the entirety of his understanding but only a segment of his discovery.The objective of this paper is to underline Siddhartha’s journey of Self-Actualization and to emphasize on his reflections. The paper will try to prove how the journey of Self-actualization in the text is both an ontological and epistemological question. It also tries to describe that sublime moment of understanding which fulfils Siddhartha’s quest of Self-actualization.

A person's life and work, as recounted in a full-scale biography, is always a vibrant opportunity to touch the riddle's core, reflecting the sublime human yearning to see beyond the veil separating “I” from “other.” This is especially true in respect to Heinz Kohut, the founding father of self psychology. Strozier's (2001) monumental biography is used for a philosophical and historical scrutiny of Kohut's quest for the Grand Unity embodied in the monistic principle of holistic totality. This vision of laying the foundations of a supra-personal dimension in which the personal and the interpersonal amalgamate into an entangled universe is advocated as the spiritual core of Kohut's oeuvre. The vertical split between One Person Psychology and Two Person Psychology is, thus, healed by Kohut's revolutionary role in creating, explicitly and implicitly, a new kind of ethics in psychoanalysis: the ethics of Oneness.

Con la novela A la Costa (1904) de Luis A. Martínez, el espacio de la Costa entra en la narrativa del Ecuador. La relación entre geografía y literatura da fe, aquí, de una original apropiación cultural de la naturaleza costeña, la cual es transformada por las numerosas y detalladas descripciones del narrador en espacios-valores. La autora estudia las modalidades del trato de los espacios y de los paisajes, entre realismo, costumbrismo y romanticismo herderiano, para entender los valores que asumen los espacios costeños; valores que no solo son económicos, políticos o ideológicos, sino también identitarios y hasta espirituales. Se observa cómo van moldeando un genio que remite a un Volkgeist singular en el panorama cultural de la época, por tener una dimensión sublime, la misma que caracteriza, por cierto, la producción pictórica del Martínez paisajista.

The awakening of Gothic in literature in 1764 marked a milestone in the development of the Western literary canon. The inclusion of the supernatural and the horrific provoked the end of the reign of Enlightenment and opened the door for Romanticism. In Spain it took a while longer for the new literary trend to flourish. However, a group of writers who had published during the last decades of the eighteenth century started to include gothic elements in their works, creating Enlightenment-Gothic hybrids. Some of these authors were Gaspar Melchor de Jovellanos, Jose Cadalso and Juan Melendez Valdes. Their El delincuente honrado, Noches lugubres, and “A Jovino, el melancolico,” respectively prove that gothic and sublime aesthetics also affected Spanish belles lettres. Resumen: El surgimiento de la literatura gotica en 1764 supuso un hito en el desarrollo del canon literario occidental. La inclusion de lo sobrenatural y lo terrorifico provoco el final del reinado de la Ilustracion y allano el camino al Romanticismo. En Espana, su florecimiento se haria esperar algo mas. Sin embargo, un grupo de escritores que habian venido publicando desde las ultimas decadas del siglo XVIII comenzaron a incluir elementos goticos en sus obras, creando hibridos entre el espiritu ilustrado y la literatura gotica. Algunos de esos autores fueron Gaspar Melchor de Jovellanos, Jose Cadalso y Juan Melendez Valdes. Sus El delincuente honrado, Noches lugubres y “A Jovino, el melancolico”, respectivamente, prueban que las esteticas gotica y sublime ya se habian integrado en las belles lettres espanolas.

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.

La recepción del tratado Perì hýpsous en el pensamiento moderno y postmoderno ha enfatizado su condición de tratado de crítica literaria, hecho que ha contribuido decisivamente a encuadrar lo sublime en el ámbito de la estética. Sin embargo, una lectura contextualizada de la obra permite apreciar el valor pedagógico del concepto y su finalidad como elemento que contribuye a la fijación, a través de los textos literarios, de unos valores morales y políticos necesarios para la reproducción de la cultura. The reception of the treatise Perì hýpsous in modern and postmodern thought has emphasized its status as a treatise on literary criticism, a fact that has decisively contributed to frame the sublime in the field of aesthetics. However, a contextualized reading of the work makes possible to appreciate the pedagogical value of the concept and its purpose as an element that contributes to establish, through literary texts, moral and political values necessary for the reproduction of culture.

Introduction. In January 1701, Prince D.M. Golitsyn was sent to Sultan Mustafa II for ratification of the Peace Treaty of Constantinople (July 3, 1700). He became the first Petrine diplomat sent to the Sublime Porte with the rank of grand ambassador. Methods and materials. The comprehensive study of archival sources (Russian State Archive of Ancient Acts), comparison of the data they contain with published materials make it possible to analyze the mission of Golitsyn in the context of the policy of Peter I towards the Ottoman Empire in the early 18th century. Analysis. Due to the hostilities by Narva, the dispatch of the embassy was delayed. The ambassador delivered the ratification of the peace treaty five months later than the agreed date. Golitsyn was the first Russian diplomat to wear a French dress during ceremonies at the Ottoman court. Besides, he not only followed the established ambassadorial custom, but also took into account the experience of his Western European colleagues. In addition to the ratification, Golitsyn had other tasks, the main of which was the conclusion of a trade agreement with the Sublime Porte. The conditions on which the ambassador was supposed to sign the agreement were fixed in a special instruction. The analysis of that instruction and reports of the ambassador showed that for Peter I the priority was not the development of mutually beneficial trade with the Ottoman Empire, but the opportunity to withdraw his fleet from the Azov to the Black Sea. Delivery of goods by Turkish ships or by dry route was considered only as an addition to the Russian Black Sea shipping. The conditions set in the instruction did not give to Golitsyn the opportunity to negotiate with the Sublime Porte, which categorically prohibited the entry of European ships into the Black Sea. Results. The sending of a grand ambassador by the tsar to the Ottoman sultan marked the transition of relations between the two states to a new level. Besides, a precedent was created for the reception of high-ranking Peter’s diplomats by the Sublime Porte.

This paper explores Thomas De Quincey’s seminal text Confessions of an English Opium Eater, examining the artistic vision of the writer and locating the author and his text within the context of the growing British Imperial project in the early 19th century. By locating the substance of his addiction, opium, within the economic, political, and cultural discourses that were developing in Britain at the time, this paper aims to deconstruct the ambivalent relationship that De Quincey, and by extension large segments of British society, had towards an imagined construction of the Orient. By analyzing the Gothic elements of De Quincey’s text, I argue that these images of the East are the signs of growing Orientalist discourse. They squarely locate Romantic tropes within the narrative of British Imperialism. In addition to exploring the fissured imagination of Asia that marks De Quincey’s work, this paper also briefly analyzes the psychological aspects of De Quincey’s contemplation of his addiction and presents a brief account of the role, opium played within the Romantic movement of the early 19th century. Through De Quincey’s opium-induced hallucinations, I attempt to analyze a mode of reflecting and presenting the sublime which was intrinsically linked to an imagined East that revisits the intersection of discourses of art, lived experiences, and the cultural and political anxieties of the era in which the primary text was produced to create a glimpse of the larger discursive function of De Quincey’s confessional memoir. This paper can thus be read as an intervention to re-engage with the links between Romantic aesthetic imaginations and the colonial enterprise of Empire building in the early 19th century.

In this article I will explore the relationship between man and animal as presented by Ovid in some of his rape stories narrated in the Metamorphoses. The stories I will discuss are those of Actaeon and Callisto, the rape of Europa and the rape of Proserpina. Against Ovid’s background, I will examine Rembrandt’s version of these stories. In other words, I will investigate how Ovid’s textual construction of animals vs. humans relates to Rembrandt’s painterly construction of them. Accordingly, I will explore how Rembrandt’s presentation of animals in his mythical images may reflect some of the prevalent attitudes of the period towards animals. My final goal is to address the question of the sublime in Rembrandt’s myths of human-animal transformation. Specifically, I will try to show that in his work the animals become agents of the sublime on a par with humans and gods. I will argue that similarly to Ovid’s reader, Rembrandt’s viewer experienced awe, amazement, even terror in front of his depictions of sublime passions, impossible disguises and transformations, his stories of violence, enacted collaboratively between man and animal.

‘The Seducer’s Diary’ is not a nostalgic account of a Romantic seducer-figure, and it does not represent the ‘ethical’ rejection of such Romanticism. Instead, it portrays the violence involved just...

La imaginación del artista da lugar a representaciones de cosas, partes del reino del ingenio, la fantasía y la invención sobre la experiencia. El artista cartagenero Enrique Grau Araujo en 1991 comienza a elaborar una serie de obras sobre el paisaje cartagenero que confluyen siete (7) años después en el tríptico Panorámica de Cartagena (1998). Allí predominan acontecimientos dramáticos de orden natural y místicos marcados por la oscuridad repentina. Este artículo aproxima a la obra de Grau, mediante la perspectiva del filósofo irlandés Edmund Burke de lo sublime como una forma de conocimiento sensible, experimentable o perceptible, vinculada a los momentos de asombro, miedo y reflexión estando cerca de la muerte. Para esto se analizan los elementos y gestos implementados por el artista en cada cuadro; junto con entrevistas, publicaciones de prensa contemporáneas al proceso de producción de la obra y el contexto histórico como soporte.