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Journal articles on the topic 'Sublime (art)'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Ross, Alison. "The Art of the Sublime." Philosophy Today 49, no. 1 (2005): 33–45. http://dx.doi.org/10.5840/philtoday200549162.

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Bacsó, Béla. "Art and “The Sublime Truth”." Graduate Faculty Philosophy Journal 28, no. 1 (2007): 195–208. http://dx.doi.org/10.5840/gfpj200728123.

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3

Zuidervaart, Lambert. "Art, Religion, and the Sublime." Owl of Minerva 44, no. 1 (2012): 119–42. http://dx.doi.org/10.5840/owl2012/2013441/232.

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Zuidervaart, Lambert. "Art, Religion, and the Sublime." Owl of Minerva 44, no. 1 (2012): 119–42. http://dx.doi.org/10.5840/owl201310212.

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Weckman, Jan Kenneth. "The sublime." Approaching Religion 7, no. 2 (2017): 64–65. http://dx.doi.org/10.30664/ar.67739.

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Florkovskaya, A. K. "The Fearlessness of Vitality: Transforming the Sublime in Painting of the 2000s." Art & Culture Studies, no. 1 (2021): 48–61. http://dx.doi.org/10.51678/2226-0072-2021-1-48-61.

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The article is devoted to vitality in the art of the twentieth century, interpreted as the Sublime. Vitality manifests itself in art in a very diverse way. The dramatic attitude of the world, suffering, and pain are often synonymous with “vitality” today. But the art of oblivion is also permeated with vitality, “intoxicating”, helping to overcome the horror of existence; as well as art, attaching to the metaphysical source of being. It can be defined as sacred optimism and the ancient art and the art of the avant-garde are especially vividly evidence of it. In this case vitality is in direct c

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7

Vuksanovic, Divna. "Emphasis: Category of sublime in contemporary aesthetic culture." Theoria, Beograd 64, no. 2 (2021): 133–48. http://dx.doi.org/10.2298/theo2102133v.

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The text has the aspiration to sketch a frame of reference for understanding the concept of the sublime today, as it is used in the context of art. The basic idea is to investigate how the category of the sublime appears in the modern age, both within aesthetic theories and with regard to certain poetics and specific works of art. The key difference in the perception of the sublime in relation to the earlier phases of capitalism and the present one consists in the connection that the sublime establishes with new technologies, which is also reflected in the world of art. The exploitation of the

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8

Chirico, Alice, Robert R. Clewis, David B. Yaden, and Andrea Gaggioli. "Nature versus art as elicitors of the sublime: A virtual reality study." PLOS ONE 16, no. 3 (2021): e0233628. http://dx.doi.org/10.1371/journal.pone.0233628.

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The sublime–the mixed aesthetic experience of uplift and elevation in response to a powerful or vast object that otherwise is experienced as menacing–has nurtured philosophical discourse for centuries. One of the major philosophical issues concerns whether the sublime is best thought of as a subjective response or as a stimulus. Recently, psychology has conceived of the sublime as an emotion, often referred to as awe, arising from natural or artistic stimuli that are great, rare, and/or vast. However, it has not yet been empirically demonstrated whether two major elicitors of the sublime–natur

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9

Vandenabeele. "The Sublime in Art: Kant, the Mannerist, and the Matterist Sublime." Journal of Aesthetic Education 49, no. 3 (2015): 32. http://dx.doi.org/10.5406/jaesteduc.49.3.0032.

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10

Zepke, Stephen. "The Sublime Conditions of Contemporary Art." Deleuze Studies 5, no. 1 (2011): 73–83. http://dx.doi.org/10.3366/dls.2011.0008.

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Deleuze's relationship to Kant is intricate and fundamental, given that Deleuze develops his transcendental philosophy of difference in large part out of Kant's work. In doing so he utilises the moment of the sublime from the third Critique as the genetic model for the irruption of the faculties beyond their capture within common sense. In this sense, the sublime offers the model not only for transcendental genesis but also for aesthetic experience unleashed from any conditions of possibility. As a result, sensation in both its wider and more specifically artistic senses (senses that become in

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11

Popovic, Una. "Spiritual ascent and the sublime in the abstract art of Kandinsky and Reinhardt." Theoria, Beograd 64, no. 2 (2021): 149–59. http://dx.doi.org/10.2298/theo2102149p.

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This paper is about the possible relation between aesthetic experience of the sublime, as presented in On Sublime by Pseudo-Longinus, and aesthetic experience of abstract art according to W. Kandinsky and A. Reinhardt. The analysis confirms the complementarity of Pseudo-Loninus?s description of the sublime and the idea of spiritual ascent provoked by the arts, which is characteristic for both of these painters. The analysis of their writings also points towards the necessary relation between abstract painting and spiritual ascent. In the final section of the paper, this idea is taken over as a

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12

Rogerson, Kenneth F., and Paul Crowther. "The Kantian Sublime: From Morality to Art." Journal of Aesthetics and Art Criticism 49, no. 4 (1991): 379. http://dx.doi.org/10.2307/431040.

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13

Malpas, Simon. "Sublime Ascesis: Lyotard, Art and the Event." Angelaki 7, no. 1 (2002): 199–212. http://dx.doi.org/10.1080/09697250220142128.

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14

Ouellet, Maryse. "Par-delà le naturalisme : médiatisation du sublime dans les oeuvres d’Olafur Eliasson et Ryoji Ikeda." RACAR : Revue d'art canadienne 41, no. 2 (2016): 105–20. http://dx.doi.org/10.7202/1038075ar.

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Although the sublime is commonly associated with nature, the historical determinants of this relation are frequently ignored. Art historians and curators who attempt to define a contemporary sublime often anachronistically link recent artworks with modern categories marked by a now contested representation of the world. Such is the case of the “natural sublime,” which emerged around the turn of the eighteenth century and exemplifies what Philippe Descola describes as a “naturalistic” cosmology characterized by a separation between Nature and Culture. Starting from a case study of two recent ar

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15

Draskic-Vicanovic, Iva. "Mathematically and dynamically sublime in fine arts." Theoria, Beograd 64, no. 2 (2021): 121–31. http://dx.doi.org/10.2298/theo2102121d.

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Taking into account the intriguing fact that Kant in his Critique of Judgment, when the category of sublime in arts is concerned, mentions the examples of the sublime in art just in the field of fine arts, specifically - architecture, and only in the context of mathematically sublime, author organizes research in this text in two directions, i.e. raises two important questions: 1 ) What are the possible philosophical reasons why Kant does so and 2) Is it, if at all, and by what means, possible to discuss dynamically sublime in the fine arts.

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16

Tostões, Ana. "An Aesthetically Sublime Second Nature." Bridges and Infrastructures, no. 45 (2011): 2–3. http://dx.doi.org/10.52200/45.a.vwhrnh24.

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The search on Bridges and Infrastructures has to do with a matter of connecting. To launch bridges seems to be a kind of life requirement, as far as it is the way to connect sides, which means improving relations and energies, desire and intelligence. Bridges and Infrastructures have the function of connecting pieces of land and the role of creating a connected world. The matter is to make links and establish a network. In fact, it is a global network made of works of art, which have a physical and material presence balancing between values such as economy and elegance and providing a better l

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17

Duffy, Michael H. "Michelangelo and the Sublime in Romantic Art Criticism." Journal of the History of Ideas 56, no. 2 (1995): 217. http://dx.doi.org/10.2307/2709836.

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18

Kemal, Salim. "The Kantian Sublime: From Morality to Art (review)." Journal of the History of Philosophy 29, no. 3 (1991): 500–502. http://dx.doi.org/10.1353/hph.1991.0060.

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19

Pajin, Dusan. "Sublime in classical Chinese poetry." Theoria, Beograd 64, no. 2 (2021): 173–91. http://dx.doi.org/10.2298/theo2102173p.

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In this paper we have reflected on various examples of sublime in the rich heritage of classical Chinese poetry, from the VIIth c. BC, to he XIIth c., which express sublime, first as a personal experience and emotion, but also this tradition had collective experiences. In the introductory parts we presented the categories, which the Chinese authors developed and applied in interpreting art, in particular poetry. Then we analysed poetry examples in which the sublime has important, or crucial role, starting with the two anthologies, and then including individual authors. In these examples we fin

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20

Siles-González, José, and Carmen Solano-Ruiz. "Sublimity and beauty." Nursing Ethics 23, no. 2 (2015): 154–66. http://dx.doi.org/10.1177/0969733014558966.

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Background: Several authors have focused on the aesthetics of nursing care from diverse perspectives; however, there are few studies about the sublime and the beautiful in nursing. Aim: To identify beautiful and sublime moments in the context of the aesthetics of nursing care. Methods: A theoretical reflection has been contemplated about sublime and beautiful values in the context of the aesthetics of nursing care from the cultural history perspective. For that purpose, a revision of this issue has been completed. The terms ‘beautiful’ and ‘sublime’ have been analysed to identify the character

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21

Scott, Amy. "Twenty-First-Century Sublime." Boom 4, no. 3 (2014): 28–35. http://dx.doi.org/10.1525/boom.2014.4.3.28.

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This essay looks at the tension between pristine natural beauty and industry and how they have informed, and been represented in, California landscape painting and photography. Amy Scott argues that the influence of the traditional California landscape in art has evolved, thanks to a flexible understanding of the concept of the sublime, which draws upon ideas of nature to respond to external changes—including developments in technology. These changes have shaped the ways in which we imagine both the natural and the built environment in relation to ourselves. Scott traces this evolution through

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22

Taylor. "Curating The American Algorists: Digital Art and National Identity." Arts 8, no. 3 (2019): 106. http://dx.doi.org/10.3390/arts8030106.

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This essay details the curating strategies and central premise behind the 2013 traveling exhibition The American Algorists: Linear Sublime. This group exhibition, which showcased the artwork of Jean-Pierre Hébert, Manfred Mohr, Roman Verostko, and Mark Wilson, marked the 20th anniversary of New York Digital Salon. In organizing this exhibit, I attempted to expand the discourse of digital art curation by linking the Algorists, a group formed at the Los Angeles SIGGRAPH conference in 1995, to the broader narrative of American art. Through the exhibition catalogue, I constructed a detailed histor

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23

Lee, Chul-Woo. "Lyotard’s Aesthetics of the Sublime and Integrated Art Education." Phenomenology and Contemporary Philosoph 82 (September 30, 2019): 169–200. http://dx.doi.org/10.35851/pcp.2019.09.82.169.

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박성원 and 김지애. "The reproduction of sublime image reflected in media art." Korean Journal of Art and Media 9, no. 1 (2010): 31–44. http://dx.doi.org/10.36726/cammp.2010.9.1.31.

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25

Quinney, Richard. "A sense sublime: Visual sociology as a fine art." Visual Sociology 10, no. 1-2 (1995): 61–84. http://dx.doi.org/10.1080/14725869508583749.

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26

Holden, Gerard. "Cinematic IR, the Sublime, and the Indistinctness of Art." Millennium: Journal of International Studies 34, no. 3 (2006): 793–818. http://dx.doi.org/10.1177/03058298060340031501.

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27

Vuksanovic, Divna, and Dragan Calovic. "Technology vs. sublime: Critique of contemporary cultural and entertainment industry." Theoria, Beograd 63, no. 4 (2020): 189–201. http://dx.doi.org/10.2298/theo2004189v.

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Drawing on traditional understanding of the concept / category of the sublime, the authors approach to the concept / category of the sublime in an interdisciplinary manner, that is, from the perspective of contemporary philosophy of media. In this way, the text maintains a connection both to traditional aesthetics, on the one hand, and to critical theory of society, on the other. The authors problematize ?technologically sublime? as well as contemporary cultural and entertainment industry, both within the current social and economic constellations of relationships. The current transformation o

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28

Kospolova, N. E. "Inversion of image of Raphael's sublime women." Voprosy kul'turologii (Issues of Cultural Studies), no. 7 (July 1, 2020): 33–41. http://dx.doi.org/10.33920/nik-01-2007-05.

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The main idea of research is proof of productivity applications for interdisciplinary research on fine art material. Synthesis of comparative analysis, evolutionary analysis, psychological analysis, theological and anthropological reconstruction personification helps predict nonstandard conclusions concerning allegations of territorial integrity also referred to as omnisexuality image Madonnas by Raphael. Work belies the established views and controversial version ofthe art of the past on the canonicity of iconographic images of Raphael and nominated as exemplars of transcendental creativity a

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29

Bychkov, Victor. "To the aesthetics of early works of Friedrich Schlegel." Философия и культура, no. 11 (November 2020): 1–14. http://dx.doi.org/10.7256/2454-0757.2020.11.34306.

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The subject of this research is the aesthetics of early works of Friedrich Schlegel. In his aesthetics, Schlegel continues the traditions of German classical philosophy, placing emphasis on the principles of beautiful and sublime in art. Schlegel believes that both, beauty and morality are innate traits of a person, which besides ethical also has &ldquo;aesthetic imperative&rdquo;. Beauty, as a &rdquo;transcendental factor&rdquo;, beauty is based on indifferent pleasure and represents the ideal that was reached by the ancient Greek art, while contemporary art does not tend towa

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Pajin, Dusan. "Sublime in the works of Djura Jaksic." Theoria, Beograd 63, no. 4 (2020): 159–73. http://dx.doi.org/10.2298/theo2004159p.

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Some artists related to romanticism - like Djura Jaksic - were able to create a number of valuable works, in spite of the unfavourable environment - not being welcome, or being ignored - in spite of personal handicaps, as being poor, or sick - they would continue to create until their last days, without compromising. So, on one side we see their vulnerability and being subject to strong emotions, and on the other side an ironlike creative determination, ready to sacrifice the person, and its physical and emotinal wellbeing, if that is the price for creating sublime and majestic art-works. His

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31

Cate, Jonathan. "Book review: The Art of the Sublime: Principles of Christian art and architecture." Theology 111, no. 861 (2008): 227–28. http://dx.doi.org/10.1177/0040571x0811186134.

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32

Goble, Erika. "Sublimity & the Image: A Hermeneutic Phenomenological Exploration." Phenomenology & Practice 7, no. 1 (2013): 82–110. http://dx.doi.org/10.29173/pandpr20105.

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For over 2000 years, the sublime has been a source of fascination for philosophers, artists, and even the general public at times. We have written hundreds of treatises on the subject, put forth innumerable definitions and explanations, and even tried to reproduce it in art and literature. But, despite our efforts, our understanding of the sublime remains elusive. In this paper, the sublime is explored as a potential human experience that can be evoked by an image. Drawing upon concrete experiences, the phenomenon of sublimity suggests a compelling, embodied response to the visual object that

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33

Stanyon, Miranda. "Second Nature and the Sonic Sublime." Eighteenth-Century Life 45, no. 3 (2021): 178–96. http://dx.doi.org/10.1215/00982601-9273041.

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Like other spaces of the Enlightenment, the sublime was what Michel de Certeau might have called “a practiced place.” Its rhetorical commonplaces, philosophical terrains, and associated physical environments were cultivated, shaped, and framed by human action and habit. But can the sublime—epiphanic, quasi-spiritual, unmasterable, extraordinary—ever really become a habit? Is it possible, even natural, to become habituated to sublimity? Taking as its point of departure the Aristotelian claim that “habit is a second nature,” this article explores the counterintuitive relationship between habit a

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34

Mattick, Paul. "Beautiful and Sublime: Gender Totemism in the Constitution of Art." Journal of Aesthetics and Art Criticism 48, no. 4 (1990): 293. http://dx.doi.org/10.2307/431567.

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35

Solkin, David H. "Joseph Wright of Derby and the Sublime Art of Labor." Representations 83, no. 1 (2003): 167–94. http://dx.doi.org/10.1525/rep.2003.83.1.167.

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This essay examines the five paintings of blacksmiths' shops and iron forges that Joseph Wright of Derby completed and exhibited between 1771 and 1773. It locates these works in the history of eighteenth-century British attitudes to labor and uncovers the role they played in the "forging" of Wright's artistic identity at a crucial turning point in his career. / Representations 83. Summer 2003 q The Regents

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36

MATTICK, JR., PAUL. "Beautiful and Sublime: Gender Totemism in The Constitution of Art." Journal of Aesthetics and Art Criticism 48, no. 4 (1990): 293–304. http://dx.doi.org/10.1111/1540_6245.jaac48.4.0293.

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37

Lino Lecci, Alice. "Black Feminism and the Feeling of the Sublime in the Performance Merci Beaucoup, Blanco!" AM Journal of Art and Media Studies, no. 19 (September 15, 2019): 85. http://dx.doi.org/10.25038/am.v0i19.316.

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This paper presents a criticism of the performance Merci Beaucoup, Blanco! by Michelle Mattiuzzi and the self-reflection on it published in the 32nd Biennial of São Paulo – “Live Uncertainty” (2016) – entitled Written Performance Photography Experiment. To this end, we emphasize the performance’s formal elements alongside aspects of the history of racist practices and theories in Brazil, in addition to the official historiography concerning the black population, which contextualize the feelings of pain and horror impregnating both the artist’s personal experience and her performance.Accordingl

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38

Thomson. "Louder Than Films: Memory, Affect and the ‘Sublime Image’ in the Work of Joachim Trier." Arts 8, no. 2 (2019): 55. http://dx.doi.org/10.3390/arts8020055.

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“We have to believe that new images are still possible”. This remark by Norwegian filmmaker Joachim Trier during a recent event in Oslo entitled ‘The Sublime Image’ speaks to the centrality in his work of images, often of trauma, that aspire to the condition of photographic stills or paintings. A hand against a window, cheerleaders tumbling against an azure sky, an infant trapped under a lake’s icy surface: these can certainly be read as sublime images insofar as we might read the sublime as an affect—a sense of the ineffable or the shock of the new. However, for Trier, cinema is an art of mem

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39

López Gabrielidis, Alejandra, and Toni Navarro. "The Digital Sublime: Orientation Strategies for a Vertiginous World." Temes de Disseny, no. 37 (July 22, 2021): 226–43. http://dx.doi.org/10.46467/tdd37.2021.226-243.

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This article addresses the increasing levels of complexity and abstraction that digital technologies produce, which generate a feeling of amazement nowadays similar to what the philosophy of art and aesthetics deemed the experience of the sublime. Through the idea of the “digital sublime”, we aim to find ways to find direction in this vertiginous world. Our intention is to research the extent to which art and design can function as mediators of scales that translate the digital sublime into concrete images that are more digestible, as well as easy to understand and perceive. We believe this is

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40

Päll, Janika. "Meremotiiv üleva pildikeeles: paari näitega eesti luulest." Baltic Journal of Art History 11 (November 30, 2016): 37. http://dx.doi.org/10.12697/bjah.2016.11.03.

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The article begins by explaining the background of sea motifs, which can be understood as sublime in the classical theory of arts, beginning with Pseudo-Longinus and continuing with Boileau and Burke, and the re-visitation of Aristotelian theory by the latter. This part of the article focuses on the observations of grandeur, dramatic change and danger in nature, which were defined as sublime in antiquity (based on examples from Homer and Genesis in Longinus or the Gigantomachy motifs in ancient art), as well as on the role of emotion (pathos) in the Sublime. The Renaissance and Early Modern Su

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41

Shapshay, Sandra. "What Is the Monumental?" Journal of Aesthetics and Art Criticism 79, no. 2 (2021): 145–60. http://dx.doi.org/10.1093/jaac/kpab002.

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Abstract The aesthetic category of the sublime has been theorized (especially in the Kantian tradition) as integrally intertwined with the moral. Paradigmatic experiences of the sublime, such as gazing up at the starry night sky, or out at a storm-whipped sea, lead in a moral or religious direction depending on the cognitive stock brought to the experience, since they typically involve a feeling of awe and reflection on the peculiar situation of the human being in nature. The monumental is a similar aesthetic category, integrally intertwined with the political, but, by contrast, has garnered a

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42

Gaete Cáceres, Miguel Angel. "Buscando lo infinito: implicaciones de lo sublime en la contemporaneidad / Seeking the Infinite: Implications of the Sublime in Contemporary." Revista Internacional de Ciencias Humanas 5, no. 1 (2016): 83–93. http://dx.doi.org/10.37467/gka-revhuman.v5.442.

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ABSTRACTThis article provides a critical review of the concept of the sublime based on Longino, Edmund Burke and Immanuel Kant. From here, we will try to discover the presence of the sublime as an important factor in shaping the contemporary world culture, through its presence in art or in the conception of nature and the environment. Finally, the main objective of this paper is demonstrate how the sublime offers an alternative means to understand the problem of "infinite" and "unlimited" in the context of technology, the emergence of the metropolis and the filtration in the capitalist rhetori

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Anastasiei, Iolanda. "Reconfigurations of the Exhibition Space – Case Study: Cristi Rusu Exhibition at the Plan B Gallery." Studia Universitatis Babeș-Bolyai Philosophia 65, Special Issue (2020): 145–57. http://dx.doi.org/10.24193/subbphil.2020.spiss.11.

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"Reconfigurations of the Exhibition Space – Case Study: Cristi Rusu Exhibition at the “Plan B” Gallery. In this paper I focus on a case study concerning the Cristi Rusu exhibition, The Only Thing I Am Sure about in This Life Lies above My Head, from the Plan B Gallery in Berlin (March 6 – April 11 2020). By integrating some interventions specific to land art in the gallery space (and, therefore, transforming it), Cristi Rusu manages to transgress the conventional limits imposed by the idea of a white cube gallery neutral space. The art gallery’s space functions as a medium for developing artis

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44

Anahory, Ana. "Leituras do Sublime : Lyotard e Derrida." Philosophica: International Journal for the History of Philosophy 10, no. 19 (2002): 131–54. http://dx.doi.org/10.5840/philosophica20021019/209.

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In the 80’s, the situation after the reception of kantian philosophy was suddenly shaken by Jean-François Lyotard’s and Jacques Derrida’s approaches to the Critique of Judgement. These were so massively decisive that they reorganized the bounderies of modernity in projecting the Analytique of the sublime as the ground of legitimation of our aesthetical, ethical and political experience. For Lyotard, the sublime subject contained not only the necessary categories to think the avant-garde art but it could also offer kernels of resistance towards the political model of neocontractualism. Derrida

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Dobrowolski, Robert. "Wzniosłe i cielesne pożywienie w sztuce jedzenia i nie-jedzenia." Prace Kulturoznawcze 21, no. 2 (2018): 55–68. http://dx.doi.org/10.19195/0860-6668.21.2.5.

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Wzniosłe i cielesne pożywienie w sztuce jedzenia i nie-jedzeniaPrzenikające współczesną sztukę rozmaite, często przeciwstawne, strategie estetyczne manifestują się w kulinarnym artyzmie nowoczesnej kuchni, a także w zmieniających się pod jej wpływem postawach i zwyczajach żywieniowych. Z jednej strony — abiektualizacyjny porządek dadaistycznej dezynwoltury, perwersyjna obrona przed całkowitym nihilizmem, w perwersyjny sposób dekonstruuje estetykę jedzenia w kuchni fusion; z drugiej — zupełnie odmienna i szczególnie zaskakująca w wypadku sztuki jedzenia, charakterystyczna dla kuchni molekularne

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46

Jones, J. Jennifer. "The Art of Redundancy: Sublime Fiction and Mary Shelley’sThe Last Man." Keats-Shelley Review 29, no. 1 (2015): 25–41. http://dx.doi.org/10.1179/0952414215z.00000000055.

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ROGERSON, KENNETH F. "Book Reviews: Crowther, Paul. The Kantian Sublime: From Morality To Art." Journal of Aesthetics and Art Criticism 49, no. 4 (1991): 379–80. http://dx.doi.org/10.1111/1540_6245.jaac49.4.0379.

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48

Smith, David. "“The Sublime Art of Curry-Making”: Culinary Trends in British India." Victorian Review 45, no. 2 (2019): 196–200. http://dx.doi.org/10.1353/vcr.2019.0049.

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49

Eskine, Kendall J., Natalie A. Kacinik, and Jesse J. Prinz. "Stirring images: Fear, not happiness or arousal, makes art more sublime." Emotion 12, no. 5 (2012): 1071–74. http://dx.doi.org/10.1037/a0027200.

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Sarafianos, Aris. "The Contractility of Burke's Sublime and Heterodoxies in Medicine and Art." Journal of the History of Ideas 69, no. 1 (2007): 23–48. http://dx.doi.org/10.1353/jhi.2008.0005.

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