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Ecocriticism is an advancing field in literature that has opened up avenues in reading world literature from a whole new perspective. This paper seeks to flesh out ecocritical concerns in the selected poems of Mahmoud Darwish and Naomi Shihab Nye by using selected concepts of the theory of ecocriticism given by Greg Garrard: pastoral, wilderness, and the sublime. An analysis of the poetry by the selected writers, sharing their roots from the Arab world, reveals their agenda of using nature as a trope in the form of resistance to colonialism. The writers give a glimpse of the people of their homeland and their culture imbued in nature. [ABSTRACT FROM AUTHOR]

In this article, I argue that some games may elicit cosy sentiments even if they are centred on a premise not usually associated with cosiness – for example the infinity of the universe. They do so not by a fluke, and cosy spaces in these games do not only appear as designated spaces apart. Evoking a cosy feeling is done by specific game mechanics or design choices, “taming” the sublime premise of the game discussed. The architecture and mechanics of this unexpected cosiness may offer a new look at the fringe cases of cosy aesthetics, perhaps broadening the understanding of this phenomenon.

The article will focus on two books by Mircea Cărtărescu, Eminescu: The Chimerical Dream (Eminescu: Visul chimeric, Humanitas, 2011), originally his bachelor’s thesis, and Solenoid, the massive novel of 2015. The intention is to see how the archetypes, complexes, themes and motifs of fiction (and autofiction) influence the author’s theoretical approaches. The interpretations of literary critics and historians Alex Ștefănescu and N. Manolescu will also be analyzed to establish a starting point for the critical analysis. Therefore, the research will attempt a Cărtăresquian mythocriticism in combination with a study of critical reception. Additionally, it is of great importance to notice how the aesthetic categories of grotesque, sublime, and pathos inform narratives built with maximalist stylistic means. The focus of the research is to identify the degree of innovation and originality in a quantitatively imposing literary prose. In this respect, studying Cărtărescu masterful mingling of phantasy and sentimentalized realism proved to be of great help in understanding the peculiar narrative and hermeneutic strategies used bu the autor.

There are only a few works you can find in Piranesi's Etching that are not related to the "past". In his work, "ruin" is the most frequent theme. This article targets the ways ruin is depicted in Piranesi's work. Thus, by considering Piranesi’s prime and typical works and moving through his varying embodiments of ruin, this article will explain the different aspects of these representations and describes, the visuals of the way ruin is shown in his works. Based on Kant's theory of aesthetics in "The Critique of Judgment" and describing the concept of "sublimity" within that theoretical framework, it’s been attempted to provide the ground for answering "why" this type of representation reflects sublimity.The descriptive-analytical findings from this research indicate that fragmentality is the main feature in showing "the past" in Piranesi's work. Some of his works have archaeological approach, and by them, Piranesi tries to give us an "image" from the past. The dominance of the visual aspect and the frequency of the designs and their expansive range, from fireplace details to monuments and urban design, show that, in Piranesi's view, these pictures are beside each other in a sequence to build a complete picture of "the past". Although "phrases" come in to help the visual with accuracy and detail in some of these pictures, the fragmented quality of the contents of these depictions and the distance between the different types of them are not explained, as if this past would always represent itself as "lost". The recurring theme of "ruin" is also confirming of such an approach. Shape-wise, the most prominent manifestation of Piranesi's "ruins" is their enormous dimensions. Such depictions of memorials are recounting of the "mathematically sublime" in Kant's aesthetic system. As if in the face of "the sublimity" of these ruins, imagination fails to comprehend the mounting perceptual apprehensions. Also, ruins, in different ways, bespeak the power of the passing of time as a natural force. The sign of decadence on these ruins, in the forms of distortion of segments and growth of moss and greens, on another level, can intrigue experiencing sublimity in the audience. This experience is reminding of the "dynamically sublime" in Kant's aesthetics, where the subject feels fear when confronted by the power of nature. This fear, existing in Piranesi’s memorial, can be especially observed in Piranesi’s prison series. Prisons have nested spaces that evoke the impossibility of escaping such powers. In addition, by reviewing the content of the pictures and Piranesi’s text, it is apparent that this failure to comprehend is caused by facing the sublimity of the Roman Empire. Piranesi, in his different works, has attempted to depict this lost glory through pictures and words. However, this civilization and its example in Rome are so “sublime” in his view that they are depicted as a “fragmented” matter.

Este texto establece una discusión basada en investigaciones teórico-prácticas transversales sobre la presencia de lo sublime en los procesos artísticos contemporáneos, con especial atención a aquellos relacionados con los procedimientos tecnopoéticos y el arte híbrido. Muchos de estos procedimientos y tecnologías, adoptados por los artistas, se crean a partir de preguntas sobre la condición humana, incluyendo la vulnerabilidad social, física y psicológica, los sistemas religiosos, el cientificismo, las situaciones geopolíticas, la convivencia cultural, entre muchas otras. Algo complejo y multirreferencial que reúne estados de sublimidad y las subjetividades inherentes a personas que se encuentran en constante adaptación a realidades emergentes. Para ello se estudió el concepto de sublime, desde los primeros planteamientos, elaborados por Longino, así como por Edmund Burke, Immanuel Kant, Jean-Fraçois Lyotard, Friedrich Schiller, entre otros, quienes debatieron y actualizaron este concepto a la luz de producciones artísticas desarrolladas en diferentes momentos de la história del arte. En 2010, Simon Morley, historiador del arte y artista británico, reunió un conjunto de reflexiones y documentos para resaltar la presencia de lo sublime en obras creadas en los más diversos lenguajes: video, fotografía, performance, pintura, instalaciones, intervenciones, entre otros. Así, el análisis de estos documentos primarios y estudios realizados en los laboratorios y bibliotecas de la University of the Arts London –UAL, sumado a las actividades desarrolladas en taller contribuyó a ampliar las discusiones sobre lo sublime, tomando como referencia la obra “Cividade”, una instalación artística con fotografías en óxidos minerales y pólvora sobre placas de fibrocemento, encapsuladas con resina óptica.

The current paper is a review of the monograph by Czech computer games researcher Jaroslav Švelch “Player vs. Monster. The Making and Breaking of Videogame Monstrosity” (2023). Švelch's work is dedicated to the figure of the monster in the gaming industry. The first chapter examines different theoretical approaches to the monstrosity. The second chapter touches on the classic gaming concept: “Player vs. Environment”. The third chapter analyzes “monster realism” as a special form of visuality. The fourth chapter of the monograph is devoted to new trends in game designers’ attitudes towards the monstrous: the manifestation of sympathy for monsters, the formlessness and incorporeality of monsters.

Copyright of ANIAV: Revista de Investigación en Artes Visuales is the property of Universidad Politecnica de Valencia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Mary Wollstonecraft (1759 - 1797) in her A Vindication of the Rights of Men (1790), written in response to a lengthy letter by Edmund Burke (1729 - 1797), Reflections on the Revolution in France (1790), expresses her radical and proto-feminist views. Wollstonecraft provides an enlightened criticism of Burke's conservative writing, referring to such key notions of the long eighteenth century as common sense, sensibility, wit, and judgment (cf. the Scottish Enlightenment's, John Locke's and Jean-Jacques Rousseau's impact). While taking the author's earlier political ideas into account, the text's allusions and digressions echo Burke's early "revolutionary" writing on the aesthetic (and sexist) approach to the sublime and the beautiful (A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful, 1757). In my article, I follow this thread running through Wollstonecraft's critique, and I also focus on the way how she responsibly confronts Burke with his own thought and rhetorical (mis)demeanours in the discussion of man's natural rights. In contrast to Burke's beautiful rhetoric, Wollstonecraft defends sublime reason, and she also presents her humanist view, discussing the importance of proper manners and education. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Babylon Center for Humanities Studies is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of African & Mediterranean Journal of Architecture & Urbanism (AMJAU) is the property of Ecole Nationale d'Architecture and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The The following article aims to identify the contemporary sublime in Olafur Eliasson's light installations and aims to identify the different potentials of light in the artist's works. The method of the current research is qualitative and based on the objective approach, which was compiled by descriptive, analytical and document collection methods. In his large installation, Olafur Eliasson creates an immersive atmosphere by using elements such as light, which surprises his audience and in which the sensory and emotional experience of the audience becomes decisive. Eliasson's art of light holds the audience accountable and encourages them to enter a state of heightened awareness. The artistic use of light transforms Eliasson's material identity and gives it an energetic personality and the viewer accordingly can experience a deep and meaningful connection of the works. The results of the research showed that Eliasson's light installations can represent contemporary sublime. By deconstructing the Romantic tradition, Eliasson sharpens the viewer's understanding of the sublime in such a way that he can see himself in this powerful perception and reconnect with the sublime power found in natural phenomena in communicative forms. The concept of "sublime" creates more questions than it answers, and today the word "sublime" is often used in conversation as an ambiguous word and yet, it has a complex and rich history in the fields of art history, philosophy, and literary criticism that has continued to fuel aesthetic and theoretical debates. There is still much controversy over the experience of "hepsos", meaning exaltation (Longinus, 1991), which is a subjective response to the individual and there is little consensus on what it actually means. Whether represented by an object, event, feeling, or state of mind, the "sublime" refers to something higher and beyond the reach of full understanding. Contemporary artists who use light, such as Olafur Eliasson, aim for a space created by light in the first place. In fact, light is a sculptor of space and a means of perception. Space is enlightenment: a perceptual process in which one can learn to notice, observe, and feel the feats performed by light that link light, space, and perception a link that is often forgotten in our daily lives. Eliasson's compositional works have a unique quality in which light and space play a key role and the audience is made to think about the mutual relations of light and the space around it. Eliasson's installations may represent today's sublime contemporary, yet we know that technology is accelerating and opening new doors for experimentation in science, art and culture. Many of his works are an example of where the sublime can go. Eliasson allows his modern audience to reconnect with the supreme power of natural phenomena in a mediated way, as he recognizes the attraction of the 21st century to the landscape of nature. With the ability to surprise the audience with his artificial nature, Eliasson engages his feelings about the sublime, and through this passage, the sublime of today's technological world is linked to the past and pristine nature. [ABSTRACT FROM AUTHOR]

Kant (1724-1804) introduziu o termo estética na Crítica da Razão Pura, referindo-se às formas puras da intuição sensível a priori: espaço e tempo. Essas formas, parte da dimensão transcendental, condicionam a recepção das intuições sensíveis, organizadas internamente pelo tempo e externamente pelo espaço. Para Kant, o tempo subordina todos os objetos como fenômenos da sensibilidade. Ele concebeu o termo “estética transcendental” para descrever a estrutura pré-existente que permite a recepção das intuições sensíveis, diferenciando-se da crítica do gosto. Kant afirma que o conhecimento exige sensibilidade (recepção de representações) e compreensão (formação de conceitos aplicados a essas intuições). Contudo, apesar da centralidade da noção de representação, ele não forneceu uma definição completa, utilizando-a em partes da Lógica Transcendental e da Estética Transcendental. Este estudo analisa as condições de sua formulação e difusão nas críticas kantianas. No juízo estético, Kant explora por que ele não gera conhecimento, impossibilitando sua universalização objetiva. A afirmação de algo como belo busca sua universalidade, mas a discordância alheia pode gerar frustração, destacando a subjetividade do gosto estético. A segunda parte aborda a Analítica do Belo e a Analítica do Sublime, evidenciando rupturas e inovações trazidas pela Crítica da Faculdade do Juízo. Analisa-se o belo em relação ao prazer e à dor, e o papel dos juízos determinante e reflexivo na estética do belo. A estética do sublime, abrangendo suas formas matemática e dinâmica, é explorada em suas conexões com natureza, moral e o informe.

There is a good chance that “each critic becomes a Pygmalion” (as Leo Curran put it) when they bring the work of art to life in their narcissistic (and almost amorous) attention, unfolding its meaning so that they should be able to write their own interpretation. The starting point of the present text is the perfection of sculptural forms, and the author discusses “traditional” aesthetic concepts: the beautiful and the sublime along with the difference and interplay of the two qualities, bearing in mind their variations and relations. The framework is provided by the occurrence of these two in the discourses on the self and taste in the eighteenth-century while the focus is on subjective criticism concerning the beautiful versus the sublime in the artistic and sensual experience of statues. Within the given framework, the author is planning to force Edmund Burke, stiffened by the experience of the sublime, and Winckelmann, softened by the sight of the Greek statues, into a dialogue on individual taste.

The present paper aims to outline the process of humanization using certain concepts proposed by Daniel Stern in his works. Whereas Marc Richir has drawn on Husserl and applied phenomenological concepts upon psychoanalytical theories, for example those of Donald Winnicott, in Stern we can find an alternative to this process. By following Stern's thematizations of the infant's life, as they evolved throughout his work, I want to analyse the concepts of affect attunement, moments of meeting and vitality affects, so that I can prove that there might be such a thing as the Sternian process of humanization. [ABSTRACT FROM AUTHOR]

Mary Wollstonecraft (1759 – 1797) in her A Vindication of the Rights of Men (1790), written in response to a lengthy letter by Edmund Burke (1729 – 1797), Reflections on the Revolution in France (1790), expresses her radical and proto-feminist views. Wollstonecraft provides an enlightened criticism of Burke’s conservative writing, referring to such key notions of the long eighteenth century as common sense, sensibility, wit, and judgment (cf. the Scottish Enlightenment’s, John Locke’s and Jean-Jacques Rousseau’s impact). While taking the author’s earlier political ideas into account, the text’s allusions and digressions echo Burke’s early “revolutionary” writing on the aesthetic (and sexist) approach to the sublime and the beautiful (A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful, 1757). In my article, I follow this thread running through Wollstonecraft’s critique, and I also focus on the way how she responsibly confronts Burke with his own thought and rhetorical (mis)demeanours in the discussion of man’s natural rights. In contrast to Burke’s beautiful rhetoric, Wollstonecraft defends sublime reason, and she also presents her humanist view, discussing the importance of proper manners and education.

O gênero romance de sensação – sensation novel – emergiu na década de 1860, na Inglaterra, com a publicação de três romances: The Woman in White, de Wilkie Collins, publicado entre 1859 e 1860; East Lynne, de Ellen Wood, publicado entre 1861 e 1861 e Lady Audley’s Secret, de Mary Elizabeth Braddon, publicado entre 1860 e 1862. Braddon ficou conhecida como uma das principais autoras de sensation novels, gênero que incorporou às narrativas ficcionais vitorianas temas até então incomuns, tais como assassinatos e relações de bigamia. Neste artigo analisaremos um conto de Mary Elizabeth Braddon que tem como característica marcante o terror, resultado de um período histórico em que o gótico, o mórbido e o culto às sensações retornam à cena cultural no século XIX. A ideia do terrível, uma das principais fontes para o sublime conforme o filósofo Edmund Burke, está presente no conto “A sombra da morte” conforme se pretende demonstrar.

ABSTRACT The present article applies some classical categories developed by the early modern tradition of philosophical aesthetics to an area of inquiry that has only recently been studied extensively by contemporary aesthetics. Here I propose to consider the practice of whalewatching as an aesthetic practice, having its specific aesthetic features and peculiarities. To do so, I will cross three very different traditions: the early modern tradition represented by the theorists of the Sublime as an aesthetic category of relevance, developed by many authors in the XVIII century and here presented via the reconstruction of Remo Bodei, the pragmatist, experience-centered aesthetics of John Dewey and the more contemporary, mostly Anglo-American, studies on animal aesthetics as a distinct topic. The discussion of the traditions mentioned is aimed at providing a theoretical framework not only valuable for an analysis of the aesthetic nature of the practice of whalewatching, but also to propose a new category of aesthetic experience, that I call here animal sublime.

Ecocriticism is an advancing field in literature that has opened up avenues in reading world literature from a whole new perspective. This paper seeks to flesh out ecocritical concerns in the selected poems of Mahmoud Darwish and Naomi Shihab Nye by using selected concepts of the theory of ecocriticism given by Greg Garrard: pastoral, wilderness, and the sublime. An analysis of the poetry by the selected writers, sharing their roots from the Arab world, reveals their agenda of using nature as a trope in the form of resistance to colonialism. The writers give a glimpse of the people of their homeland and their culture imbued in nature.

Concept of sublime has a long record. The record refers usually to ancient Greece but in modern time emerged a challenge, That sublime debated under aesthetics. Kant debated the sublime in his philosophy under aesthetics too. Imagination has special importance in discussion of the sublime. This discussion has other aspects in Kant's philosophy that we must regard to them. In critique of pure reason, imagination participates with understanding and sense, consequently in current interpretations Kant's work is epistemology; it provides conditions of possibility of objectivity in first critique. But in Critique of the Power of Judgment, imagination has a free operation in test judgment, it is in a free harmony with understanding. In theory of the sublime, imagination has relation with reason here feeling of the sublime is similar to morel feeling. Thus it reveals the unity of total determination of man. Therefore we understand the nature as exhibition of supersensible. [ABSTRACT FROM AUTHOR]

Copyright of Estudios Filosóficos is the property of Estudios Filosoficos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

There is a good chance that ?each critic becomes a Pygmalion? (as Leo Curran put it) when they bring the work of art to life in their narcissistic (and almost amorous) attention, unfolding its meaning so that they should be able to write their own interpretation. The starting point of the present text is the perfection of sculptural forms, and the author discusses ?traditional? aesthetic concepts: the beautiful and the sublime along with the difference and interplay of the two qualities, bearing in mind their variations and relations. The framework is provided by the occurrence of these two in the discourses on the self and taste in the eighteenth-century while the focus is on subjective criticism concerning the beautiful versus the sublime in the artistic and sensual experience of statues. Within the given framework, the author is planning to force Edmund Burke, stiffened by the experience of the sublime, and Winckelmann, softened by the sight of the Greek statues, into a dialogue on individual taste. [ABSTRACT FROM AUTHOR]

Marvell’s commendations of Milton prove him a perceptive critic of the Latin prose and the epic verse. Not merely summarizing the content or intoning conventional praise, he invents a structural or architectonic mode of reading, articulates a subjective and emotional reader-response, connects Milton and the sublime for the first time, and evokes ancient models particularly significant for Milton. The 1654 letter comparing Milton’s Defensio Secunda to Trajan’s Column, turning and simultaneously rising to a higher “Scale,” endorses Milton’s own claim that it is a canonical work of epic stature. Marvell’s architectural imagery, expanded from Milton’s own Areopagitica, applies also to Cromwell’s use of dissidents as cross-bracing, “Fastening the Contignation which they thwart.” The commendatory poem to the 1674 edition of Paradise Lost again incorporates what seems at first to “thwart” the whole project. Here the significant intertext is De Rerum Natura by the notorious “atheist” Lucretius – the “strong” but dangerous poet who had already done what Marvell fears Milton might do: “ruin the sacred Truths.” Lucretian allusion expands to define the emotional and aesthetic impact of Paradise Lost, anticipating the “terror without danger” at the core of Burke’s Sublime. (The key-word “sublime” becomes the end-rhyme of Marvell’s penultimate line.) Lucretius, awestruck by his philosophical mentor Epicurus ,is “seized by divina voluptas and horror”; Marvell, yielding to the contradictory “gravity and ease” of Milton’s poetry but also asserting his own aesthetic, exclaims that “at once delight and horror on us seize.”

A pitoresca paisagem da Ilha de Araçatuba na barra sul da Ilha de Santa Catarina preserva as ruínas da fortificação militar do século XVIII, a Fortaleza de Nossa Senhora da Conceição. O conjunto ilha e ruína se conserva em perfeita harmonia e simbiose com a topografia acentuada, vegetação rasteira e os matacões graníticos, num local muitas vezes indócil, tanto no acesso, quanto na permanência. Os remanescentes materiais e imateriais, na ruína dos prédios e nos fragmentos e lacunas dos relatos e documentos, são peças importantes para o que aqui se pretende, uma “reconstrução narrativa”, capaz de revelar muitas camadas sobre o mesmo objeto, e trazer à luz episódios, personagens, objetos e uma história igualmente fragmentária, e que aqui, também se dá pela via imaginativa. Entre as cenas e episódios escolhidos, se percebe e sugere alternância de humores, contrastes e a natureza voluntariosa do lugar, próprias do sentimento do sublime.

The study interprets two novels by Kafka (Metamorphosis and Disciplinary Camp), and shows that one of the motives both novels share is the “ahypnotic experience”, i.e., the state in which the character of the story is frightened by sleep, since in sleep he loses control over himself, and is given up to the forces which rid him of of his human form (Metamorphosis). Based on the analysis of the apparatus of torture, interpreted here as “apparatus for producing justice”, the paper argues that for Kafka, the law means not freedom, but inhumanity (Disciplinary Camp). The following part of the paper explains that a similar process is uncovered in Donnarumma’s Amygdala art installation, and poses the question as to whether the increasing autonomy of modern technology intensifies Kafka’s fears of dehumanisation of the world. The final part of the paper offers an alternative conclusion to the problem building on Nietzsche’s understanding of the sense of the sublime.

This essay delves into the portrayal of the “unpresentable” in contemporary performances centered around cancer, probing how such artistic endeavors defy conventional aesthetic paradigms. I anchor my analysis on the mixed-media dance piece Still/Here (Iowa 1994) by the renowned American experimental choreographer Bill T. Jones. My perspective is enriched by Jean F. Lyotard’s interpretation of the Kantian sublime in postmodern art, contemporary performance theories, art criticism, and personal reflections from cancer-related performances I have experienced. I compare two performances for illustrative purposes: the British musical theater performance A Pacifist’s Guide to the War on Cancer (B. Kimmings, B. Lobel, T. Parkinson, 2016) and the Greek documentary-theater performance In Spite of Everything (Georgia Mavragani and the Hellenic Cancer Society, 2018). Both draw inspiration from genuine cancer narratives and incorporate a blend of professional and amateur artists. Ultimately, my investigation seeks to trace the progression of the representation of cancer in performance.

Recent articles suggesting the late-1990s animatronic children’s toy, Furby, was promoted and perceived as true Artificial Intelligence in 1998-99 are not wholly accurate. In examining 130 North American news stories, Furby is often accurately described as only imitating machine learning. This paper analyses these articles from the perspective of mythmaking in technological culture. In the article, I analyse the media discourses at the time and provide their historical context within North American technological culture, containing events such as the Y2K bug, popular media representations, and the dotcom bubble. I also describe several potent emotional reactions to Furby. However, recent media discourses suggest Furby had been perceived as a panic-inducing new technology, similar to the War of the Worlds radio broadcast and silent cinema train effect, both of which historians have largely discounted. I contribute evidence to the contrary, while acknowledging emotional reactions, which are not necessarily indicators of utopian or dystopian cultural panics, but instead a technological banal. The contemporary mythmaking about Furby is situated as comparable to Foucault’s analysis of myths of Victorian prudishness and silence around sexuality. Retroactive mythmaking risks supporting uncritical perspectives in the present, warranting interrogation of myths about AI as it develops and expands.

Mary Wollstonecraft (1759-1797) was an ardent believer in individual freedom and self-development; consequently, she frequently discussed the possibilities of women’s education and self-reliance in her writings. Being rather reckless in her life, she was often on the move, not only searching for better life conditions but also following her own impulses in her critical reading. The motif of intellectual mobility features her educational writings, argumentative works, novels, and her last publication, Letters Written During a Short Residence in Sweden, Norway and Denmark (1796) as well. In my paper, I will map the multiplicity of the concept of mobility and elaborate on the senses of escapism in Wollstonecraft’s travel-letters, moving beyond Laurence Sterne’s notion of “a sentimental journey” (A Sentimental Journey Through France and Italy, 1768). Moreover, in Letters, in her solitary walks and fanciful reveries, not only Wollstonecraft’s inclination to the (natural and textual) sublime but also Rousseau’s ideas on exercise and movement will be detected (cf. Reveries of the Solitary Walker, 1782). On the one hand, my interpretation is contextualised by the late-eighteenth-century view on women’s limitations of “sensibility”, displaying the constraints the age demanded; on the other hand, I intend to place the travelogue in Mary Wollstonecraft’s oeuvre and highlight the synthesising quality of the writing as a piece of “travail” and/or “a labour of love”.

In a deep reflection recorded in his Zibaldone in 1829 – in five interconnected short notes written between mid-April and the end of May – Leopardi examines the conditions that can affect our faculty of imagining poetically and creatively, and even tragically extinguish it. He carefully considers the minute circumstances of human existence, which, in the context of his general theory of conformability, can either determine the sinking of the self into a state of death-in-life, far worse than death itself, or facilitate a vital life, rich in illusions, feelings, magnanimous actions, and poetry. Against the backdrop of this striking representation of the precariousness of existence, Leopardi develops an original reworking of the notion of sublime. This, in turn, appears to provide the conceptual foundations upon which his reflection on the tenuousness of imagination and feeling may be systematised as part of his thought.

This paper explores Edmund Burke’s concept ‘the sublime’ in Samuel Taylor Coleridge’s poetry. Coupled with his concept of ‘the beautiful’, Burke’s the sublime features conspicuous in creative arts. While beauty is an integral constituent or rather product of art, the sublime is no less desirable in amplifying a given piece of art. Unlike the beautiful, reflection of the sublime is considerably rare in poetry specifically the romantic. Coleridge is an exception in creating sublime effect in his poetry. His major poems especially The Rime of the Ancient Mariner and Kubla Khan not only reflect but almost embody the sublime as shown in this analysis. The secret of Coleridge’s fame as a supernatural poet owes largely to his use of the sublime. While the thematic critiques of Coleridge’s poetry are overshadowed by the supernatural, this brief textual analysis is an improvement in being different, entailing the sublime.

Copyright of Art-E is the property of Suleyman Demirel University, Faculty of Fine Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This research investigates the social representations of exceptional high tides occurred in Venice (Italy) between 12th and 18th November 2019 through the analysis of YouTube contents. Those events could be considered as a local manifestation of Anthropocene, and therefore could be linked to its representations. Moreover, after a summary of aesthetic literature on Anthropocene, this research aims at considering how aesthetics contribute to the definition of social representation of exceptional high tides. Twenty-nine YouTube videos were collected and analyzed using Reflexive Thematic Analysis. The results show that there are several intersections between aesthetics of Anthropocene and social representations of the event analyzed, with particular concern for themes “sublime” and “future as a threat”, and their relation to attribution of responsibility processes. These findings reflect an elaboration of the event based on aestheticization and trends of “deresponsibilization”.

There are many connections that link the aesthetic sphere to the set of phenomena that are encompassed by the general definition of “Anthropocene”. Among them, there are two that are explored in this contribution. On the one hand, it is a matter of getting to the bottom of the relationship between the conceptual heritage of the aesthetic-philosophical tradition and its metaphorical variants with the thematic core of the Anthropocene. On the other hand, it is a matter of ascertaining how this process intertwines and interferes with the forms of visualization of the “human epoch” and thereby conditions the possible reactions that descend from such representations. Finally, to conclude with a tentative assessment of the possibilities of countervisualization and lines of research within the conceptual field of aesthetics for a different rendering of relations with phenomena linked to the notion of the Anthropocene.

Poeta francês hoje completamente esquecido, Édouard Turquety é, no entanto, o escritor que mais empresta seus versos para servirem de epígrafes a diferentes poemas dos Primeiros Cantos (1846), de Gonçalves Dias, a obra verdadeiramente inaugural do nosso Romantismo. Chama a atenção, contudo, o fato de que nas obras seguintes – Primeiros cantos (1848) e Segundos cantos (1851) - ele desapareça de cena, enquanto outros escritores também presentes enquanto epígrafes no primeiro livro do poeta brasileiro não só permanecem nos cantos seguintes como até aumentam seu número de ocorrências – é o caso de Byron, Victor Hugo e Zorrilla. Este artigo procura investigar a razão para um desequilíbrio tão flagrante, avançando a hipótese segundo a qual Gonçalves Dias teria se dado conta bem cedo de que, a despeito da admiração juvenil que nutria pelo francês, suas concepções poéticas eram bastante distintas, em particular no que diz respeito à natureza. Discípulo de Lamartine, Turquety apresentava a natureza ainda como um objeto de contemplação, enquanto poemas como “O mar”, ao contrário, colocam o pathos e a desmesura no centro da representação da natureza, como fonte primária do sublime segundo a concepção pioneira de Edmund Burke.

Neste artigo, forneço uma leitura da peça Maria Stuart, de Friedrich Schiller, a partir da noção de liberdade imanente ao seu pensamento. Tal noção, apesar de ter raízes em ideais kantianos, é original em relação à do filósofo predecessor de Schiller. Schiller argumenta que o sublime, efeito estético de uma tragédia, tem capacidade de influenciar a dimensão ética da vida humana ao nos fazer livres. Stuart, protagonista da peça, é a representação dessa noção shcilleriana de liberdade.

In his Letter 79 (probably written in c. AD 64) Seneca asks his addressee, Lucilius, who was then serving as procurator of Sicily, to send him a report on his travels around the island, including information specifically on Charybdis and Lucilius’ climb up Mount Etna. In addition to this “scientific tourism”, Seneca encourages Lucilius to attempt a new poem on Etna, “the venerated theme of every poet” (Ep. 79.5) and not to be deterred from doing so by the fact that there are already prominent literary works that offer remarkable descriptions of Etna. In my paper, I will first briefly discuss the implications of Seneca’s choice to single out Vergil’s and Ovid’s works as the specific volcanic intertexts against which not only Lucilius, but also he himself will initiate the process of literary emulation. In this connection, I will also explore the significance for Seneca of the fact that Lucretius’ volcanic passages -to which Seneca does not refer overtly- are the dominant intertexts for both Vergil and Ovid. I will then discuss the principle of multiple explanations and the notion of the sublime, two prevailing thematic themes that the Epistle 79 shares with the Natural Questions (in particular Books 3 and 4a) and which are conditioned by Seneca’s intertextual reception of Lucretius and Ovid.

The sublime is a common subject in European literary studies, particularly in Victorian and Romantic period literary scholarship. The Greek writer Longinus proposed the concept in the 1st century in On the Sublime (first printed in 1554), and Edward Burke later popularized it in his work A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). The sublime is less discussed in anime studies due to its European origins, but it has a robust history in Japanese literature and philosophy. Recently, scholars have begun discussing its presence in anime. This paper examines European and Japanese definitions of the sublime and then applies the European Romantic definition to Psycho-Pass. Psycho-Pass’s focus on horror, self-knowledge, and European philosophy makes it an ideal subject for examining the sublime in anime. Rikako Oryo is a schoolgirl who murders her classmates and is hunted by the protagonists in one of the show’s side arcs. Her art emphasizes how the sublime's "horror" element can stimulate critical thought and concurs with the Kierkegaardian theory of the sublime. The primary antagonist, Shogo Makishima, represents the more transcendent aspects of the sublime and its role in self-knowledge and identity. After examining Rikako and Makishima, the paper takes a step back and apply the principles of the sublime to anime as a medium and Psycho-Pass as a whole. Psycho-Pass reminds viewers that violent media like horror anime and crime stories can use the sublime as a catalyst for critical thinking without endorsing violence.

The demise of the World Trade Towers grotesquely inflated the sublime! Edmund Burke’s inclusion of fear and awe as elements of aesthetics has come to dominate representational canons, but the extreme effect of the 9/11 attacks rendered the concept intolerable while subsequent architectural work seems to have reacted with the proliferation of extreme and often unsettling contortions, vertiginous cantilevers and unbalanced profiles! Standing for the machinations of the previous millennium, upon their extirpation these minimal monoliths became the most potent auspices for the next. Before falling they were extraordinarily blank formally while provoking sectarian rage toward the institutions they stood for - New York, the U.S. and multinational commerce. An improbable history of the violent demise of his buildings plagued their designer as well! Collapse made them true monuments in the funereal sense of the word and profoundly significant as the globe drifts toward dystopia, advantaging plutocracy and distilling resentment in many cultures.

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The general concept of representing or imitating nature in art means that art is nothing but a mimesis of the nature, the artist recreates what he experiences in the outside world, i.e., nature, by means of artistic tools. Philosophy may reveal the broad meaning of nature representation particularly the sea. The concept of the sublime is one of the most valuable philosophical topics in the history of aesthetics. The sublime includes the feeling that is evoked as a result of the lack of imagination in the understanding of a very large object. Kant divides the sublime concept into two types: mathematical and dynamic. A very large object is understood either in terms of magnitude (size) or power. Mathematical and dynamic are distinguished depending on the connection with theoretical or practical reason. Mathematic highness expresses the fact that the subject of judgment is faced with vast magnitudes or greatness in time or space. Strength is superior to great obstacles. If it overcomes the resistance of something that has power, it is called force. Nature, considered in the aesthetic sense as a power that has no force on us, and is a dynamic sublime. Despite the wide range of research on Immanuel Kant and the concept of sublime, no research has been presented that focuses on representation of the sea in the 19th century. Therefore, the present research examines the concept of the sublime and its types, as well as the motivation of artists to create works of painting with the theme. Sea is discussed in the works of realistic paintings of the 19th century in Europe and America. Focusing on the concept of sublime this research explores the interpretation of the representation of sea waves in the above-mentioned works. The research method is descriptive-analytical and data collecting is desk-based. By selective sampling, five works have been selected and analyzed qualitatively. The results show that the pattern of the representation of sea is different according to its type. The high and dynamic matter in the studied works is done through the display of the power and violence of the sea. The drawing of sea storms, the overwhelming power of nature over humans, and sometimes the drawing of metaphysical quality, become an arena for visual metaphor and symbolic expression of the artist’s intention. The apprehension caused by the events in dealing with the wild nature revives a high dynamic feeling in the subject. Realism is a platform for showing political issues, as well as nature representation without exaggeration and far from Romanticism sentimentality. [ABSTRACT FROM AUTHOR]

John Hare argues that Kant, in his Third Critique, offers an aesthetic argument for God's existence that shares premises with his famous moral argument. Karl Ameriks demurs, expressing skepticism that this is so. In this paper, I stake out an intermediate position, arguing that the resources of Kant provide ingredients for an aesthetic argument, but one distinctly less than a transcendental argument for God or an entailment relation. Whether the argument is best thought of as abductive in nature, a C-inductive argument, or a Pascalian natural sign, prospects for its formulation are strong. And such an argument, for its resonances with the moral argument(s), can work well in tandem with it (them), a fact not surprising at all if Kant was right that beauty—in accordance with an ancient Greek tradition—exists in close organic relation to the good. More generally, along the way, I argue that the sea change in Kant's studies over the last decade or so should help us see that Kant is an ally, rather than foe, to aesthetic theodicists. [ABSTRACT FROM AUTHOR]

This article argues that Western cyberpunk narratives often suggest a technologically invoked transcendence, a cyber-transcendence, which represents a new ontological sphere and offers catharsis in dystopian scenarios. While Japanese cyberpunk anime also explore the idea of cyber-transcendence, the clear distinction between immanence and transcendence often becomes blurred. Aesthetic concepts invoking transcendence can be linked to the awe-inspiring kami (deities) of Japanese Shinto, which are intertwined with the immanent sphere of reality rather than external to it. In Western cyberpunk, cyber-transcendence seems to provide the sense of depth that Paul Tillich labels the "dimension of religion", in contrast to postmodernist meaninglessness. Cyberpunk anime provide an understanding of transcendence as a religious dimension that exists within reality. [ABSTRACT FROM AUTHOR]

The Kantian approach to the sublime in the Critique of the Power of Judgment is based on an antagonism between two faculties, Imagination and Reason. In order to understand this conflict under new conceptual coordinates, and pursuing a triple exegetical, aesthetical and political interest, the aim of the present paper is to develop the brutal character proper to the conceptual dynamics deployed in such an approach. Reconstructing this mouvement from the incidences of the term Gewalt, under a brutalism of the sublime, we focus on the inquiry of the violence that the Imagination experiences in its mathematical determination and, on the other hand, of the power that Reason holds according to the dynamic determination of the sublime. Thus, under such a perspective, violence, power and subjective impotence will appear as constitutive characters of the genesis of the feeling of the sublime within the horizon of transcendental philosophy.

This article explores the relationships between the contemporary representations of the origin and the expressive forms of the sublime. On the one hand, the origin forms an archetype/s linked to the genesis or creation, but it is also characterized by a sort of ‘morphology of the unrepresentable’, being an event that no one has ever witnessed, connected to chaos, nothingness and the abyss. On the other, as conceived (starting from Ps.Longinus) in relation to the notions of ‘greatness’, ‘wonder’ and the ‘ineffable’, the sublime becomes the special grammar of the origin. Accordingly, their relationship assumes extreme importance in the contemporary maturation of the traditional concept of ‘representation’ towards the ‘non-mimetic’ and the ‘unrepresentable’, both in painting, through the searching for absolute primeval energy, and in the interpretation of the tragic, the grotesque and the absurd in literature.

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The article raises the question of the relationship between rhetoric as a tool for argumentation and negotiation used by a discursive community to safeguard its norms and rules of life, particularly in a crisis situation and the use of the sublime abject put in use by terrorist propaganda aimed at crushing the speakers through the spectacle of extreme violence. As if this violence were capable of transforming the very body of language, the latter being the necessary condition for making society. The analysis focuses on the post-jihadist propaganda discourse held by "Boko Haram", a terrorist group which has also been involved in banditry in many countries of sub-Saharan Africa since 2015. After having noted the multiple and complex issues of the socio-historical context necessary to understand the acts of terrorist language, the article highlights the linguistic functioning of this type of discourse, the purpose of which is not only to put civilian populations under the yoke of fear, but to produce a sublime discursive community entirely given over to single thought. [ABSTRACT FROM AUTHOR]