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Dissertations / Theses on the topic 'Sublime theory'
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曾立存 and Lap-chuen Luther Tsang. "A theory of the sublime." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1991. http://hub.hku.hk/bib/B31232814.
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Tsang, Lap-chuen Luther. "A theory of the sublime /." [Hong Kong : University of Hong Kong], 1991. http://sunzi.lib.hku.hk/hkuto/record.jsp?B13148412.
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Mishra, Vijay Chandra. "The Gothic sublime : theory, practice and interpretation." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302854.
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Hull, Gretchen Lindsay. "Hearing the Sublime: Signification of the Sublime in Solo Piano Literature of the Nineteenth Century." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/554587.
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Music Performance<br>D.M.A.<br>Though many philosophers and music theorists have admitted the signification of the sublime in music as a possibility, the nature and mechanism of that signification has not yet been treated at length with a methodology familiar to musicians or native to music theory. Within this dissertation I have conducted a survey of the philosophy of the sublime as understood by Edmund Burke (1729 – 1797), Immanuel Kant (1724 – 1804), Friedrich Schiller (1759 – 1805), and Arthur Schopenhauer (1788 – 1860), with references to other contemporary philosophers and writers. The broader influence of the sublime in regards to German-speaking regions and certain musical composers was also considered. I then gathered from the above philosophers’ categories and definitions of the sublime a constellation of objects, qualities, and emotional states associated with the sublime. These functioned as signs or signifiers of the sublime, whose paths of signification were considered or determined with use of semiotics and topic theory, with reference to the work of Danuta Mirka, Raymond Monelle, and Leonard Ratner. Making reference to score examples listed in the list of figures, I implemented these techniques in analyses of Ludwig van Beethoven’s Sonata No. 30 in E Major, Op. 109 and Sonata No. 32 in C, Op. 111 as well as Franz Liszt’s “Mazeppa,” from the Études d’exécution transcendante, “Funerailles” from Harmonies Poétiques et Religieuses III, S. 173, and “Marche funèbre, En mémoire de Maximilian I, Empereur du Mexique” in from Années de pèlerinage III, S.163.<br>Temple University--Theses
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Cronk, Nicholas. "The classical sublime : Boileau's Traite du sublime in the context of contemporary poetic theory 1650-1720." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.305800.
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Slocombe, Will. "Postmodern nihilism : theory and literature." Thesis, Aberystwyth University, 2003. http://hdl.handle.net/2160/740d7998-8998-4ef7-9514-4174d05cec4a.
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This thesis examines the relationship between nihilism and postmodernism in relation to the sublime, and is divided into two parts: theory and literature. Beginning with histories of nihilism and the sublime, the Enlightenment is constructed as a conflict between the two. Rather than promote a simple binarism, however, nihilism is constructed as a temporally-displaced form of sublimity that is merely labelled as nihilism because of the dominant ideologies at the time. Postmodernism, as a product of the Enlightenment, is therefore implicitly related to both nihilism and the sublime, despite the fact that it is often characterised as either nihilistic or sublime. Whereas prior forms of nihilism are 'modernist' because they seek to codify reality, postmodernism creates a new formulation of nihilism – 'postmodern nihilism' – that is itself sublime. This is explored in relation to a broad survey of postmodern literature through a series of interconnected themes. These themes – apocalypse, the absurd, absence, and space – arise from the debates presented in the theoretical chapters of this thesis, and demonstrate the ways in which nihilism and the sublime interact within postmodern literature. Because of the theoretical and literary debates presented within it, this thesis concludes that it cannot be a thesis at all.
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Crowther, P. "The structure and significance of Kant's theory of the sublime." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383992.
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ALMEIDA, ALEXANDRA DE. "THE SUBLIME IN KANT’S THEORY AND THE ISSUE OF EMOTION IN ART." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=14343@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>Em que medida a arte, hoje, nos aproximaria da experiência da comoção
como experiência de limites? É a partir desta primeira grande questão que se
constrói esta dissertação. Aqui, é proposta uma reflexão filosófica sobre o sublime
kantiano como categoria estética, cujo deslocamento, da esfera da natureza para a
da arte, nos permitiria cogitar o acesso a um espectador, penso, cada vez mais
dominado pela apatia. Trata-se de uma interrogação destinada à produção de arte
na atualidade, em especial, às artes visuais, a partir do sublime kantiano.<br>To what extent would art, in our days, bring us closer to the experience of
emotion as an experience of limits? It is upon this first important question that this
dissertation is built. Proposed herein is a philosophical reflection on Kant’s
sublime as an aesthetic category whose shift from nature’s to art’s sphere would
allow us to consider the possibility of getting access to a spectator seemingly
increasingly dominated by apathy, a characteristic aspect of the mass culture he is
inserted into. An interrogation directed towards art’s production in present times,
in particular in the visual arts, from the perspective of Kant’s sublime.
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Beriotto, Giorgia <1996>. "The Sublime Burke’s Aesthetic Theory of the Sublime and its Reflections on 19th Century Novels: Mary Shelley’s Frankenstein and Emily Brontë’s Wuthering Heights." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21153.
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The meaning of the term ‘sublime’ has gone through several phases of development since its first formulation. Its birth dates back to the ancient Greece, when the rhetorician and philosopher Longinus for the first time puts to words what the ‘sublime’ is: something elevated, exceptional and extra-ordinary. His Peri Hypsous presents sublimity as strictly connected to the realm of rhetoric, a realm to which it would be confined for ages until the intervention of the French philosopher Nicolas Boileau in the seventeenth century. Slowly but incessantly, as the writings from John Dennis, Joseph Addison, Mark Akenside and John Baillie show, in the eighteenth century the rhetorical idea becomes ever-more connected to a more psychological approach, until in 1757 the epoch-making treatise A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful by Edmund Burke firmly establishes the sublime within the field of aesthetics. The young Irishman sets out to provide an analysis of both sublimity and beauty, however, the sublime idea would exercise a much wider influence in the century to come. Burke’s definition employs terms such as darkness, obscurity, privation, vastness, magnificence, but most importantly, claims that the emotive response of the individual in the presence of sublimity takes the shape of pain in pleasure, delight in terror. Of all the sources of sublimity, surely nature is among the most powerful: violent storms and raging seas, towering mountain chains, profound chasms etc. The aim of this dissertation is the analysis of the great influence of this theory, by taking into consideration the aesthetic responses of two of the most brilliant women writing in the nineteenth century and their unforgettable masterpieces, namely Mary Shelley’s Frankenstein and Emily Brontë’s Wuthering Heights.
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Humphreys, Julian. "The self and the sublime : a comparative study in the philosophy of education." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33908.
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In this thesis I discuss personal identity (the self) as it relates to authoritative contexts (the sublime). I show how these contexts confer meaning on personal and cultural narratives, which in turn confer meaning on facts and knowledge claims. I outline three conceptions of the self and sublime (Richard Rorty's, Charles Taylor's and Robert Kegan's), and address the implications of these for education. In conclusion I isolate a common product of all three perspectives---unconditional love---and recommend a 'will to positive description' as a necessary and desirable pedagogical goal.
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Fawver, Kurt. "The Terror of Possibility: A Re-evaluation and Reconception of the Sublime Aesthetic." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4482.
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While the sublime aesthetic has a long and complex critical history, it is nonetheless a schizophrenic concept. Indeed, in the over two thousand years since the sublime became a subject of learned inquiry, it has not been resolved into any one concrete idea, but has become, rather, an expansive tapestry of disparate if interconnected theoretical threads from which aestheticians may pick and choose to define what they mean by the term "sublime." Kant postulates one sort of sublime, Burke another, and Lyotard, Zizek, and the Romantics still others. In this way, the contemporary sublime aesthetic is, in essence, an ever-extending discourse of recombinatory effort. The goal of this dissertation is to stitch together the competing conceptual threads that constitute the contemporary definition of the sublime aesthetic and to uncover the foundational core from which all those ideas spring.
Through analysis and deconstruction of several major theories on the sublime as well as through critical evaluation of a host of literary and cinematic texts (for example Kubrick's 2001: A Space Odyssey and Don Delillo's White Noise), this dissertation contends that the deepest substratum of the sublime aesthetic lies in dynamism and possibility. Indeed, both art objects and philosophical rationale show that the sublime aesthetic is, at base, the recognition of the entire sphere of the possible and its necessarily constitutive threatening dynamism in a physically or ideologically destructive object or act of vast size, power, or mystery.
This dissertation argues that a theory of the sublime as possibility that entails uncontrollable dynamism helps to further clarify - if not fully explicate - the aesthetic and resolves the tension and incompatibility between preexisting ideas on the subject. Therefore, as a new theory of the sublime aesthetic, this dissertation is, at very least, a novel formulation of an ancient and undervalued concept in art and critical theory and, at best, a work that unearths the deepest, heretofore unrecognized, layers of an aesthetic experience central to human perception.
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White, Mandala Camille. "From the Sublime to the Rebellious: Representations of Nature in the Urban Novels of a Contemporary New Zealand Author." Thesis, University of Canterbury. English, 2007. http://hdl.handle.net/10092/957.
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Although nature is a dominant presence both in historical New Zealand literature and in New Zealand's current international image, literary critics observe a tendency on the part of young writers to neglect nature in favour of more human, urban and cultural themes. I write against this perception, basing my argument on the hypothesis that such urban-based literature may in fact be centrally concerned with the natural world and with human-nature relations. In locating nature within the urban fictional environment, I demonstrate a model of analysis that extends literary critical approaches to nature both within New Zealand literature and within the field of ecocriticism, both of which are largely consumed with analysing representations of sublime, non-urban nature. I test this urban ecocritical method of reading in my analysis of Catherine Chidgey's three novels, In a Fishbone Church, Golden Deeds and The Transformation, all of which adhere to the human-centred trend typical of contemporary New Zealand novels. I reveal within Chidgey's fiction a gradual progression away from archetypal representations of the sublime toward a more complex, fractured and rebellious variety of nature that co-exists alongside humans within urban space. Thus, while the characters in her first novel predominantly interact with nature as a sublime, non-urban entity, those in her second and third novels face the daily possibility of encountering "the wild" within domesticated settings that are apparently severed from any connection with the natural world. This kind of urbanised feral nature poses a significant threat to Chidgey's characters, overtly in the form of the powerful natural elements, and covertly through the myriad varieties of transformed nature with which they surround themselves. I read this portrayal of nature as a commentary on contemporary modernity's relationship with the natural environment, and I suggest that this kind of agentive, autonomous nature demands a new theory of environmentalism which will consider nature as an actor alongside humans.
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Nyberg, Forshage Andria. "On Sublimity and the Excessive Object in Trans Women's Contemporary Writing." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-30337.
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This thesis examines trans women's contemporary writing in relation to a theory of the excessive object, sublimity, transmisogyny and minor literature. In doing so, this text is influenced by Susan Stryker's work on monstrosity, abjection and transgender rage in the article “My Words to Victor Frankenstein Above the Village of Chamounix: Performing Transgender Rage” (1994). The excessive object refers to a concept coined in this thesis to describe sublimity from another perspective than that of the tradition following from Immanuel Kant's A Critique of Judgment, building on feminist scholarship on the aesthetic of the sublime. Of particular relevance are critiques of the patriarchal dynamics of sublimity and the idea of the feminine sublime as it is explored with reference to literature by Barbara Freeman in The Feminine Sublime: Gender and Excess in Women's Fiction (1995). Following from the feminist critique of sublimity, trans women's writing is explored as minor literature through a re-reading of Gilles Deleuze and Félix Guattari's work on Franz Kafka in Kafka. Toward a Minor Literature (1986), with attention to the importance that conditions of impossibility, marginality and unintelligibility holds for the political possibilities of minor literature. These readings form the basis for an analysis of four literary texts by two contemporary authors, Elena Rose, also known as little light, and Sybil Lamb, in addition to a deeper re-engagement with Stryker's work. In so doing, this thesis also touches on topics of power, erasure, trauma, self-sacrifice, appropriation and unrepresentability.
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Fugmann, Nicole Elisabeth. "The poetics of critical space and postmodernity : critique, aesthetics, and cultural memory: a comparative study of critique and the sublime across literary theory, continental philosophy, literature and the Avant-Garde in the visual arts." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367446.
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Foster, Jonathan. "The Non-World : Inaccessibility and Law in Charles Dickens' Bleak House." Thesis, Stockholms universitet, Engelska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-126573.
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The representation of Chancery court in Charles Dickens’ Bleak House (1852-3) emphasises the inaccessibility of this institution to members of the laity. Dickens’ critique of Chancery chimes with Pierre Bourdieu’s sociological description of law as a formalistic social field defined by practices of exclusion. Dickens’ Chancery is however further inaccessible since it departs from Dickens’ laypeople’s horizons of expectation as a bureaucratic organisation characterised by its structural dispersion and the generation of great quantities of writing. This thesis therefore scrutinises Dickens’ treatment of Chancery in light of media-theoretical and geocritical, as well as sociological, frameworks and perspectives. This essay demonstrates that Dickens’ account of the institution of Chancery as conceptually inaccessible amounts to what I term a non-world heuristic. I contend that Dickens’ take on law anticipates what Fredric Jameson famously theorises as the dizzying “global world system” of late capitalism; the non-world heuristic of Bleak House—which combats disorientation in the social domain of law—may thus be understood as an early example of what Jameson terms an “aesthetic of cognitive mapping.” The non-world heuristic, this thesis proposes, likely has a role to play also in fictional attempts to cognitively map the global world system. I theorise the non-world heuristic in light of the discourse on accessibility in possible-worlds theory and the Kantian sublime, finding that the sublime non-world of Chancery is made accessible as inaccessible and that this dynamic is integral to Dickens’ aesthetic both as a maker of cognitive maps and as a realist novelist.
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Sondey, William. "Capital as Master-Signifier: Zizek, Lacan, and Berardi." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1400076867.
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Guion, David Stanton. "A STUDY OF SPIRITUALITY IN CONTEMPORARY VISUAL ART AND FOUNDATIONS FUNDING." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1210694707.
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Langendorff, Judith. "Le nocturne comme catégorie esthétique de l'image dans la photographie et le cinéma contemporains." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA085.
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À partir d’un corpus ouvert de photographes et de cinéastes coloristes qui ont une fascination pour le nocturne, cette thèse explore les différentes gradations et significations de celui-ci, des plus évidentes aux plus abstraites. La thèse s’attache alors à démontrer que le régime nocturne transforme l’obscurité en valeurs chromatiques et qu’il éclaire, avec une subtilité qu’occulte la vision diurne, les aspects les plus complexes de la société et de l’esprit humain. La confrontation des analyses de séquences filmiques et de photographies dans une perspective articulant esthétique, philosophie et histoire de l’art, a permis de construire la thèse autour de trois grandes notions, Distorsion, Sublimation, Transfiguration, qui fondent le nocturne comme catégorie esthétique de l’image.Le corpus principal organisé sur des critères externes (nocturne, couleur post-années 1960-70) et internes (processus esthétiques conjoints) est composé de séquences de films en couleurs de Stanley Kubrick (1928-1999), de David Lynch (1946), de Brian de Palma (1940), de Francis Ford Coppola (1939) et de séries photographiques de Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) et Daniel Boudinet (1945-1990).Le corpus secondaire est constitué de séries photographiques de Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974), Chrystel Lebas (1966), d’extraits d’un court métrage d’Antoine Barraud (1973) et d’une série TV de Nic Pizzolatto (1975) et Justin Lin (1973), nécessaire pour finaliser la démonstration<br>Based on a large corpus of colorist film directors and photographers who share a fascination for the nocturne, this thesis explores the different gradations and meanings of this one, from the more obvious to the more abstracts. The thesis endeavours to demonstrate how the nocturne reasserts the darkness values to turn them into colors, and how it illuminates, with a subtlety absent in diurnal vision, the more complex aspects of society as well as the human mind.The confrontation between picture and film sequences analysis, with a perspective articulating aesthetic, philosophy and art history, leads to three main concepts: Distortion, Sublimation and Transfiguration. Thereby it establishes the nocturne as an image’s aesthetic category in cinema and photography.The main corpus in cinema and photography, organised by externals criteria (nocturne, post-1960-1970 years color) and internals criteria (similar operating processes aesthetic), is established with the movie extracts of Stanley Kubrick (1928-1999), David Lynch (1946), Brian de Palma (1940), Francis Ford Coppola (1939) as well as the photographic series of Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) and Daniel Boudinet (1945-1990).The second is based on the photographic series of Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974) and Chrystel Lebas (1966), as well as Antoine Barraud’s (1973) movie extracts. Finally, for the requirement of the demonstration, a Nic Pizzolatto (1975) and Justin Lin (1973) TV show
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af, Malmborg Solith. "Research: ROTHKO : - ett arbete om att lära känna sig själv genom någon annan." Thesis, Linköpings universitet, Malmstens Linköpings universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-146095.
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This thesis project examines both inner and outer circumstances of knowledge in an attempt to emphasize the importance of personal reflection. I search for answers on how to communicate feelings through colour and form by studying Mark Rothko and the abstract expressionism. A personal reflection is made parallelly to expand my own understanding of the subject and my own role in relation to it. I also explore painting as amethod of deepening my understanding of Rothko. Mark Rothko is both subject of study and tutor as I give myself the task of translating his art into my own design. The result offers thoughts and ideas on the significance of the work of hand, the use of colour and the meaning of intention, which I claim are important aspects when aiming for emotional results. However I also reflect upon the fact that the communication remains individual and that it is therefore problematic to confirm success in this matter.<br>Detta är ett undersökande arbete som vänder sig både inåt och utåt. Det är en djupdykning i Mark Rothkos konstnärskap som sker parallellt med en personlig reflektion. Inledningsvis handlar det om att arbeta i gränslandet mellan konst och design och hurdet kan se ut. I förlängningen handlar det om hur den konstnärliga historien kan fungera som inspiratör och vägledare för innebörd och uttryck i formgivningen. Genom att studera den abstrakta expressionismen och Mark Rothko söker jag svar på hur känslomässig kommunikation kan ske genom färg och form. Förutom litterär research utför jag också en praktiskt undersökning där jag använder måleriet som en metod för att förstå mitt studieobjekt; Mark Rothko. Målet är att översätta Mark Rothkos konst till min design. Det handlar om att studera, internalisera och applicera. Resultatet bjuder in till en diskussion om handlagets, färgens och intentionens betydelse för formgivningen, där jag hävdar att dessa aspekter är viktiga för ett emotionellt berörande resultat, men att kommunikationen förblir individuell.
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Langendorff, Judith. "Le nocturne comme catégorie esthétique de l'image dans la photographie et le cinéma contemporains." Electronic Thesis or Diss., Sorbonne Paris Cité, 2018. https://books.openedition.org/pur/180789.
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À partir d’un corpus ouvert de photographes et de cinéastes coloristes qui ont une fascination pour le nocturne, cette thèse explore les différentes gradations et significations de celui-ci, des plus évidentes aux plus abstraites. La thèse s’attache alors à démontrer que le régime nocturne transforme l’obscurité en valeurs chromatiques et qu’il éclaire, avec une subtilité qu’occulte la vision diurne, les aspects les plus complexes de la société et de l’esprit humain. La confrontation des analyses de séquences filmiques et de photographies dans une perspective articulant esthétique, philosophie et histoire de l’art, a permis de construire la thèse autour de trois grandes notions, Distorsion, Sublimation, Transfiguration, qui fondent le nocturne comme catégorie esthétique de l’image.Le corpus principal organisé sur des critères externes (nocturne, couleur post-années 1960-70) et internes (processus esthétiques conjoints) est composé de séquences de films en couleurs de Stanley Kubrick (1928-1999), de David Lynch (1946), de Brian de Palma (1940), de Francis Ford Coppola (1939) et de séries photographiques de Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) et Daniel Boudinet (1945-1990).Le corpus secondaire est constitué de séries photographiques de Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974), Chrystel Lebas (1966), d’extraits d’un court métrage d’Antoine Barraud (1973) et d’une série TV de Nic Pizzolatto (1975) et Justin Lin (1973), nécessaire pour finaliser la démonstration<br>Based on a large corpus of colorist film directors and photographers who share a fascination for the nocturne, this thesis explores the different gradations and meanings of this one, from the more obvious to the more abstracts. The thesis endeavours to demonstrate how the nocturne reasserts the darkness values to turn them into colors, and how it illuminates, with a subtlety absent in diurnal vision, the more complex aspects of society as well as the human mind.The confrontation between picture and film sequences analysis, with a perspective articulating aesthetic, philosophy and art history, leads to three main concepts: Distortion, Sublimation and Transfiguration. Thereby it establishes the nocturne as an image’s aesthetic category in cinema and photography.The main corpus in cinema and photography, organised by externals criteria (nocturne, post-1960-1970 years color) and internals criteria (similar operating processes aesthetic), is established with the movie extracts of Stanley Kubrick (1928-1999), David Lynch (1946), Brian de Palma (1940), Francis Ford Coppola (1939) as well as the photographic series of Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) and Daniel Boudinet (1945-1990).The second is based on the photographic series of Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974) and Chrystel Lebas (1966), as well as Antoine Barraud’s (1973) movie extracts. Finally, for the requirement of the demonstration, a Nic Pizzolatto (1975) and Justin Lin (1973) TV show
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Koster, John M. "Goethe and the Sublime." Thesis, 2013. http://hdl.handle.net/1807/35868.
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The dissertation situates the Goethean sublime in an obscured countermovement of resistance to the aestheticization the concept underwent in the 18th century. Before the encounter with the English aesthetic concept of the sublime, the German notion of das Erhabene (the sublime) named not a category of aesthetic experience, but a social affect. In contrast to the Sublime of Edmund Burke's theory, which explicitly excludes melancholy from the sources of the Sublime, das Erhabene is an affect related to the self-overcoming of melancholic subjectivity.
As the aestheticized notion of the sublime displaced das Erhabene, Goethe became one of the most radical innovators of the aesthetics of the sublime. But as is demonstrated in chapters on The Sorrows of Young Werther, Elective Affinities, Faust and Wilhelm Meister, he did so with the aim of recovering the displaced meaning of das Erhabene as social affect. Goethe's sublime aims to show at every turn that the so-called "aesthetic experience" of the sublime is really displaced social affect. His treatment of the sublime therefore constitutes a radical critique of the establishment of aesthetics as an independent sphere of inquiry. There is for Goethe no way to understand aesthetic experience independently of its social context. By reconnecting the sublime it to the original social meaning of das Erhabene, Goethe recovers the aesthetics of the sublime as a means of mediating and facilitating the movement of subjectivity from frustrated stasis to divine creativity; i.e., from exclusion to participation in the material creation of reality.
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Hsu, Ming-huei, and 徐敏慧. "The Sublime and Wordsworth’s Aesthetics: Theory and Poetry." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/89841755299021097837.
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碩士<br>國立中山大學<br>外國語文學系研究所<br>92<br>Sublimity is a term originally coined by Longinus to deal with an author’s strong influence upon the reader by using his excellent rhetorical techniques to compose a great poem that stirs up the reader’s innermost emotions. Undoubtedly it is a literary concept. But, after Burke released his A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful in 1757 and Kant published his Critique of Judgement in 1790, the sublime lost its original meaning, turning out to be a counterpart of the beautiful. Since then, the sublime fell into a rubric of aesthetics. However, when we study Longinus’s, Burke’s, and Kant’s theories, we are likely to run into the contradictions between them. For instance, Kant insists that “we must not point to the sublime in works of art” (Critique 100). His words imply that the sublime cannot refer to literature either. If so, then we could not call Milton’s Paradise Lost or Emily Bronte’s Wuthering Heights sublime. On the contrary, if literature can be included in the sublime, then Kant’s “disinterested delight” in the judgment of taste will fail to make a good case for itself. It is the conflicts between theories that cause my research interest. Therefore, the aim of this thesis is to discuss the meanings of the sublime, and try to solve the two problems: “whether literature can be included in the sublime” and “whether the sublime contains morality.”
This thesis contains four chapters. Chapter I is “Introduction,” which briefly states the basic concepts of the sublime and the questions of research. Chapter II is “The Theoretical Foundation of the Sublime,” which discusses several important theories of the sublime, and attempts to solve the conflicts between different theories. Chapter III is “The Romantic Sublime,” which discusses respectively Wordsworth’s aesthetics and Weiskel’s psychoanalysis of the sublime. And, Chapter IV is conclusion. In this thesis, we can see the evolution of the sublime and Wordsworth’s endeavors to integrate these theories.
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Jana, Katja. "Loyal and Elegant Subjects of the Sublime State." Doctoral thesis, 2016. http://hdl.handle.net/11858/00-1735-0000-002E-E35A-3.
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(6876251), Olon Frederick Dotson. "Fourth World Nation: A Critical Geography of Decline." Thesis, 2019.
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Dissertation declaring that The United States of America is a Fourth World Nation. It has earned this distinction as direct a result of the manner in which it was established, how it developed, and the fact that it has demonstratively failed to confront its ever-increasing disparity and unevenness. Fourth World Theory provides a foundation and framework for a critical investigation of society and culture though an analytical lens, and an examination of the inequities that are increasingly prevalent throughout a post-industrial, post-agrarian, post-developing space of inevitable decline.
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(9897353), O. Efthimiou. "Dreaming the posthuman in cyberspace : war of the worlds and the return of the un/real in Tron: Legacy." Thesis, 2012. https://figshare.com/articles/thesis/Dreaming_the_posthuman_in_cyberspace_war_of_the_worlds_and_the_return_of_the_un_real_in_Tron_Legacy/13462319.
Full textAbstract:
"Digital narratives are emerging as key platforms for the study of the posthuman in the 21st century. In Tron: Legacy the exploration of cyberspace and its miraculous properties as a vacuum for the mythological unconscious reignites the imagination, transporting viewers to a universe without borders. Both film and cyberspace open us up to worlds past, present and future, internal and external, imbuing us with their magic as well as their terror; danger becomes integral to the establishment of digital space as ‘sublime dreaming space’, as we witness the breakdown of dualities and the unearthing of a pervasive schizophrenia. This ‘inverted’ condition forces us to question the nature of reality and its perceived stability. The disparity between the virtual dream and material world is a natural state in which the fight for visibility and integration of multiple identities unfolds, revealing it as the essential project of postmodernism. In Tron cosmology both the mechanical and biological body preserve their integrities – digital ontology not only informs but restores the dormant potential of the corporeal, with the cyborgic figure of the ‘ISO’ presented as a blueprint for the cellular and cognitive regeneration of our species. Its inherent subversive qualities defy an empiricist legacy and encroaching self-denying egoism. This is the re-mythologisation, re-sacralisation and re-centring of our known worlds. The framing of Tron: Legacy as a creation myth reasserts the relevance of apocalypse and sacrifice in the contemporary imaginary, as cyberspace becomes a recreation of the universe itself and a womb for the collective. Ultimately, this father-son story of love and loss beckons the re-evaluation of our personal relationships, reaching for our humanity in an increasingly mechanised world. Its characters’ redemption mirrors the psychosocial absolution of a whole civilisation and the rebirth of humankind."--Abstract.