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The article focuses on surfing to consider the attractiveness of using the sublime to describe experiences and emotions in nature sports. The sublime is shown to be a red herring in scholarship as it fails to account for many of the valuable experiences available to nature sports enthusiasts. The article draws on the work of Genevieve Lloyd to propose that wonder is a more suitable concept that gets to the heart not only of the terror and awe that nature can inspire, but also to the orientation towards our finitude, difference, and the stimulation of growth and practical knowledge that nature sports also inspire (and that are not accounted for in the sublime). [ABSTRACT FROM AUTHOR]

By the early nineteenth century, the meaning of aesthetics had become hotly debated in the context of a rising bourgeois public sphere and the adjudication of public taste. In Germany, especially, the rise of a new aesthetic evaluation of absolute music was linked importantly to contemporaries' understanding of their own modernity, boosting its status as an art form, and raising the stakes for its public consumption. This paper examines how early 19th-century critics and essayists appropriated and expanded upon an earlier critical tradition that linked poetic expression with the sublime to argue that absolute music, as a symbol of modernity, was uniquely positioned to realize the universal aesthetic self. [ABSTRACT FROM AUTHOR]

Despite the philosophical literature concerning the sublime and the beautiful, dating back to Burke (1759/2008), there is still limited empirical evidence regarding the visual aesthetics of sublimity and beauty. The present article asks whether the manner in which photographs are presented can alter the perception of the sublimity and beauty ratings of these photographs. In a set of studies, it is reported that the increase of presentation size increases sublimity more than beauty (Study 1) and that this is mainly driven by the effects of visual angle (Study 3). While increasing presentation height affects both sublimity and beauty positively and in similar degrees (Study 1), the presence of color (vs. black and white [monochrome]) is predominantly related to judgments of beauty (Study 2). Brightness and contrast levels affected neither sublimity nor beauty (Study 3). An important methodological point is that all inferential statistics use linear mixed models, which treat both participants and stimuli as random effects. In addition, each participant receives different random subsets of stimuli, increasing the size of the stimulus set. Overall, the analyses incorporate 233 photographs and 245 participants in total, which allows the generalizability of findings. Sublimity and beauty respond differentially to different presentational cues, which demonstrates the importance of simultaneously considering sublimity and beauty in empirical studies on aesthetic judgments. [ABSTRACT FROM AUTHOR]

In this paper, I argue that Nissim Ezekiel’s “Enterprise”, first published in The Unfinished Man (1960), strongly alludes to the Book of Job from the Old Testament of the Bible. Through intertextual and interdisciplinary readings, one can discern how the shadow that falls upon the characters of Ezekiel’s poem during the pilgrimage possesses the characteristics of Yahweh’s shadow that falls upon Job, and becomes directly responsible for his decrepitude. The shadow grows in both texts because the Supreme Unconscious (God) is indifferent to(wards) the human condition, and to the consequences of an apocalyptic aftermath, as illustrated in C.G. Jung’s Answer to Job. Their spiritual and moral states are restored upon two conditions – the protagonist’s internalization of both human struggle and divine wrath makes him resilient towards both, creating the theoretical premise for the resolution of their antinomy, followed by the evocation of the sublime that resists annihilation as well as the catastrophe of extreme suffering. It leads to the substitution of the poem’s theoretical framework from “the good of God” to the “agon of the Go(o)d”, as I argue towards the conclusion of the paper. [ABSTRACT FROM AUTHOR]

Germaine Koh's extended artist statement documents her weather- and climate-related works. She summarizes her body of work that adapts commonplace objects and technologies to suggest connections between human activities to naural and built environments, especially by introducing environmental forces into unexpected situations such as building interiors and domestic settings. These include the Fair-weather forces series of interventions that control architectural elements in relation to weather conditions, and process-based works that engage geological time. These works are provisional and continually changing, and they provoke reflection and reckoning and a sense of awe in face of our connections to the greater-than-human, but also remind us of human agency and responsibility within these. Koh suggests that the hand-made character grounds these works. She proposes to speak of the Systemic sublime, a variant of the sublime which acknowledges human implication in systems which exceed our comprehension. [ABSTRACT FROM AUTHOR]

Background: Sublime is a centuries old concept of emergent experience arising from immense and threatening awareness provoked by overwhelming fear and dread when faced with an incomprehensible situation as is common to autistic people. Extended Reality (XR) technologies have been used since the mid-1990s, in regulating emotions, behaviour and supporting social skill development for autistic people. Aims: To understand utility of XR technologies in creating immersive experiences for autistic people to alleviate anxiety and the relationship to the sublime. Method: A State of the Art literature review and narrative synthesis was conducted. PubMed, CINAHL, EMBASE, Cochrane Library, Scopus, Web of Science were searched with terms Autism AND Technology. In addition, fields of digital technologies and wellbeing, digital art and mental health, generative arts and the sublime were explored through web searches of grey literature, conversations with digital designers and explorations of extended reality platforms. No time limits were placed. Searches were done in English. Papers were screened and shortlisted using the inclusion criteria applied by two reviewers. Results: Fifty-eight papers/articles met the preliminary inclusion criteria for in-depth review of which 31 were found suitable for the narrative synthesis related to XR technologies and sublime experiences as related to autistic people. Narrative synthesis lent itself to four themes that is current utility of XR Technologies in autism, the impact of immersive experiences on Behavioural, phenomenological and biological markers of autistic people, the Benefits of increased sensory stimulation using XR on autism and an inquiry into the potential of the sublime for autism. Conclusions: Mixed reality environments that experiment with a broad range of XR technologies including incorporating notions of the sublime, might be beneficial in reducing emotional dysregulation and improving social development in autistic people especially if co-designed with them. [ABSTRACT FROM AUTHOR]

Maria Edgeworth's letter describing her 1833 tour of Connemara in Ireland's wild west has received relatively little critical attention. Yet the letter has the candid spontaneity of writing never intended for publication, revealing a side of Edgeworth rarely glimpsed in her published works. So strong was her childlike curiosity regarding this alien world, which lay just a hundred miles from her home, that Edgeworth, then in her 60s, was willing to brave the inhospitable terrain to see its natural wonders. However, throughout the letter she expresses fear and suspicion of the "natives" whose mediation is necessary for her to access those wonders. To make sense of Connemara's strange landscape and people, Edgeworth deploys three distinct constructions of "nature": a rational nature that had been tamed and rendered productive; a picturesque, commodified nature of discrete sites the burgeoning tourist industry had identified as attractions; and a wild, Romantic nature of mythic prehistory that she longs to experience for herself. As this article argues, each of these "natures" founders in the contact zone, in part because the reality of the region exceeds the interpretive frameworks available to Edgeworth, but also because her own emotional responses defy her attempts at narrative regulation. [ABSTRACT FROM AUTHOR]

During the Second World War, the British painter Prunella Clough composed a set of poems now preserved in her archive at Tate Britain, of which only two were published. This article prefaces the sixteen poems, situating them in relation to Clough’s avowed models in poetry of the period, and comparing them to poems by two women writing on the Second World War home front, Sylvia Townsend Warner and Lynette Roberts. Clough’s developing practice as a painter is considered in the light of her poems, which preceded her post-war commitment to painting as primary vocation. Clough’s paintings are analysed in their equivocal relation to abstraction, both American and British. Her later paintings’ singular focus on detritus staged before an undifferentiated background, is interpreted as consistent with her poems’ startling domination by the death drive, inviting the destruction of the Blitz. Clough’s peculiar sublime, whereby the act of seeing becomes death-dealing, is shown to be announced in her poems, and contrasted with the high capitalist abstract sublime exemplified in Peter de Bolla’s encounter with Barnett Newman. The article ends by associating Clough’s objectifying vision with the photography of Robert Mapplethorpe, using terms that draw on the writing of Roland Barthes. [ABSTRACT FROM AUTHOR]

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.

This article assesses Nietzsche's engagement with the sublime in Dawn to shed light on an aspect thereof that has so far been overlooked: Nietzsche's deployment of the sublime as a philosophical framework for coming to terms with epistemic limits and transcendental errors. By engaging with the sublime both descriptively and methodologically, Nietzsche promotes an awareness of cognitive limits that fosters, instead of impeding, the pursuit of knowledge and the accomplishment of philosophical endeavors. While complicating the minimal existing literature on the topic, this article highlights Nietzsche's philosophically unique use of the sublime in navigating a characteristically post-Kantian epistemic issue (the awareness of epistemic partiality and inadequacy) and in mitigating an illusory faith in reason. [ABSTRACT FROM AUTHOR]

While Eros has a central philosophical function in the dialogues of Plato, it all but disappears as a philosophical term in the thought of Aristotle, and is replaced by the more rational and reciprocal relation of friendship, φιλία. This essay asks what becomes of Eros in Aristotle's thinking, whether as deity, natural or cosmic force, or mode of human relation. Drawing on the ancient epithet of Eros, Ἔρως λυσιµελής , unbinder of limbs, Aristotle's usages of both ἔρως and λύσις (loosening, unbinding), respectively are traced in their ambivalence for his fundamentally organismic philosophy, insofar as they disturb the organism's ontological integrity. With the assistance of Kristeva's notion of the abject, it is argued that while Aristotle's overt stance is a polemic against eros, his principal metaphysical innovations – the recasting of ἀρχή as divine τέλος , and the separation of material and moving causes – are solutions (λύσεις) to aporias that may involve a traversal of the sublime that is also irreducibly corporeal and erotic. [ABSTRACT FROM AUTHOR]

Franco-Swiss multimedia artist Julian Charrière finds in the world's most uninhabitable places the material that shapes his artistic research. Through the discussion of two exhibitions, Desert Now (Hencke and Samman 2016) with Felix Kiessling and Julius von Bismark, and Future Fossil Spaces (Charrière 2017), this article shows how Charrière critically reflects on romantic, western representations of the desert as a separate space untouched by human activity to reframe it as a liminal space where the relationship between mankind and nature is negotiated. While our perception of the desert is highly mediated—via national parks, westerns, or screen savers—Charrière's installations show that the desert is the resource that needs to be physically hollowed out for this imaginary experience to take place, and for western existence to go on: salt flats are mined to extract the lithium used in batteries; nuclear test sites were made forever uninhabitable for the sake of a technology built for imperialist domination over nations and nature, whose domestic applications sustain digital infrastructures. Life nonetheless continues to thrive but is transformed. Charrière's dystopic "entroposcenes" are poetic invitations to reflect on how the West's use of the desert induces its own literal and metaphorical desertification, and to contemplate new ways for life to go on in a man-made desert. [ABSTRACT FROM AUTHOR]

To a modern observer of Western culture, Romanticism might appear conflicted about size. On the one hand, the likes of Chopin and Scriabin best expressed themselves through small-scale compositions, while, on the other, there were those who, like Wagner and Mahler, produced colossal works. The aim of the present article is to explore the phenomenon of miniaturization in Western culture and to examine how miniature works (e.g., literary fragments, preludes) competed with their much larger counterparts. My central claims are threefold: (1) that miniaturization, contrary to common belief, is not a contemporary phenomenon; (2) that the attitude of Romanticism to size was not paradoxical but rather an attempt to harmonize the fragment and the colossal; and (3) that in contemporary culture, the fragment and the colossal are no longer in harmony with each other. [ABSTRACT FROM AUTHOR]

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]

In all three of James Cook's expeditions to the Pacific, visual artists were hired by the Royal Society and the Admiralty to communicate scientific information that relied on visual evidence, while conveying the embodied experience of travel. The present article focuses on the representational challenges raised by the encounter with the Antarctic during the polar explorations of the second voyage (1772–75), with an emphasis on Cook's textual accounts and William Hodges's sketches and illustrations, which are shown to provide an interesting angle on the contemporary debates about the respective abilities of words and images, both as paths to knowledge and as sources of aesthetic experience. After a brief discussion of the complementary epistemological function of words and images in Cook's Pacific voyages, this article argues that the specific representational issues raised by the encounter with the Antarctic not only encouraged Cook to reflect about the value of images for the publication of his discoveries, but also partook of his own aesthetic education, with significant and long-lasting implications for the subsequent construction of polar regions in the British imagination. [ABSTRACT FROM AUTHOR]

This essay approaches Jubilate Agno (1758–1763) as constitutive of an "emotional practice" of enthusiasm. Using affect and practice theories, I argue for increased attention to the modulation of feeling made manifest in Jubilate Agno , which realizes Smart's religious, reparative, and creative impulses. The enthusiastic posture and practice of the poem afford Smart, if not always divine inspiration and freedom, at least sustaining resolve during his years of anguished confinement for "madness." That such a posture and practice are so often sublime, as expounded by Robert Lowth, reveals the radical possibilities of a pliable writing process. [ABSTRACT FROM AUTHOR]

"Sonic Boom" emphasizes the sonic virtuosity of A Song to David and explores the relation between its heightened musicality and its peculiar route to placement in literary history. We should not let one of Smart's masterpieces, the anticipatory Jubilate Agno , supplant all discussion of the very different but equally masterly Song. Whether we position Smart between Pope and Wordsworth or between the Quakers and the Beats, his achievement necessarily alters our understanding of poetic possibilities in the middle of the eighteenth century. As a formally achieved religious ecstasy, the poem alters our sense of what the affordances of eighteenth-century poetry were. [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]

The concept of the sublime is a concept that was analysed in Ancient Greek philosophy and in the 1st century AD by Longinus the Pseudo. It was later revived in the philosophical works of Edmund Burke and Immanuel Kant. While the sublime that Longinus dealt with includes the emotions in Homer's poems and classical tragedies, philosophers such as Edmund Burke and Immanuel Kant further explored the concept of the sublime and dealt with it from different angles. While Burke based the sublime on pain, danger and fear, Kant saw it as a bridge between aesthetics and ethics. Romantic artists, emphasising the sublimity of nature, depicted landscapes in a frightening and awe-inspiring way. Today, technology and consumer culture have replaced nature and created a new understanding of the sublime. Contemporary art associates the sublime with human emotions and the complexity of technology rather than natural landscapes. The concept of the sublime in contemporary art has gone beyond its traditional definition and has different interpretations and expressions. While the sublime in the traditional sense is considered as an expression of natural beauty or greatness that frightens and fascinates people, in contemporary art, it has gained a more abstract and personal meaning. [ABSTRACT FROM AUTHOR]

The article is actually made up of a series of digressions representing the author's unique approach to engaging with J. Palmer's ideas and offering a response. Instead of constituting a formal discussion, they have evolved into marginal notes inspired by an occasional visit to Amsterdam's Rijksmuseum, which is world famous for the masterpieces it houses. This formula allows for the exploration of various issues related to representation in art and life, as inherently intersubjective. The problems of aesthetic experience overlap with those of psychoanalysis, and vice versa: themes such as distance and aura; the relationship between content and container, i.e., between form and content or between frame and artistic motif; the aesthetics of the sublime as a portrayal of the vicissitudes of the primary relationship with the object; the negative of the invisible as what enables vision; art as a thematization of intersubjectivity; the artistic gesture as the movement and expression of the body, or rather, of intercorporeality; the construction of meaning that occurs in the "carnal" intimacy with art; painting as meditation on perception as unconscious (Merleau-Ponty); the pictorial structure of the dream within the dream or mise en abîme: these are all themes touched upon in a fragmented manner but that refer to various other works in which the author has addressed them, giving the sense of an ongoing research endeavor, where what matters is not the destination but the process of traversing the path of art as access to the psyche. All are interwoven in a series of internal references, the final figure or figures of which are left substantially open. The importance of reflection on art in general is continually reaffirmed in the work, both explicitly and implicitly, in the lines and between the lines. [ABSTRACT FROM AUTHOR]

H.P. Lovecraft admired Edgar Allen Poe as his “God of Fiction,” having stumbled upon the literary works of Poe at the age of eight. To Lovecraft, Poe then served to replace Greek mythology and the Arabian Nights as his muse. Unfortunately, the degree to which his writing style and mood were thus significantly influenced by Poe is unknown, since very few of his works completed during his juvenile years remain today. Moreover, he did not admit the implicit influence of Poe until 1935. Joshi attributed Lovecraft’s denial of Poe’s influence to Harold Bloom’s concept of the “anxiety of influence.”1 However, it is still possible to trace the impact of Poe in Lovecraft’s literary works. Lovecraft’s idea of cosmic decline stemmed from his early reading of Poe, adroitly applying Poe’s gothic setting of terror to his own 20th -century stories. Throughout his body of work, however, Lovecraft developed a more pessimistic tone of cosmicism, with his Cthulhu Mythos and weird fiction; therein, his works stand apart from Poe’s. The following is a comparison and contrast of Lovecraft’s murder stories and those of Poe. [ABSTRACT FROM AUTHOR]

H.P. Lovecraft admired Edgar Allen Poe as his “God of Fiction,” having stumbled upon the literary works of Poe at the age of eight. To Lovecraft, Poe then served to replace Greek mythology and the Arabian Nights as his muse. Unfortunately, the degree to which his writing style and mood were thus significantly influenced by Poe is unknown, since very few of his works completed during his juvenile years remain today. Moreover, he did not admit the implicit influence of Poe until 1935. Joshi attributed Lovecraft’s denial of Poe’s influence to Harold Bloom’s concept of the “anxiety of influence.”1 However, it is still possible to trace the impact of Poe in Lovecraft’s literary works. Lovecraft’s idea of cosmic decline stemmed from his early reading of Poe, adroitly applying Poe’s gothic setting of terror to his own 20th -century stories. Throughout his body of work, however, Lovecraft developed a more pessimistic tone of cosmicism, with his Cthulhu Mythos and weird fiction; therein, his works stand apart from Poe’s. The following is a comparison and contrast of Lovecraft’s murder stories and those of Poe. [ABSTRACT FROM AUTHOR]

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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]