Bibliografías temáticas / Philosophical enquiry into the origin of our ideas of the sublime and beautiful

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Literatura académica sobre el tema "Philosophical enquiry into the origin of our ideas of the sublime and beautiful"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 5 de febrero de 2022

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Artículos de revistas sobre el tema "Philosophical enquiry into the origin of our ideas of the sublime and beautiful"

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Ortlieb, Stefan A., Uwe C. Fischer, and Claus-Christian Carbon. "Enquiry into the Origin of Our Ideas of the Sublime and Beautiful: Is there a Male Gaze in Empirical Aesthetics?" Art and Perception 4, no. 3 (2016): 205–24. http://dx.doi.org/10.1163/22134913-00002051.

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In his ground-breaking Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, Edmund Burke (1757) presented a comprehensive aesthetic theory based on two types of aesthetic appreciation: the beautiful and the sublime. While beauty inspires us with tender feelings of affection, a thrill of delightful horror attracts us to the sublime. According to Burke these ideas originate in a drive for affiliation (beautiful) and a drive for self-preservation (sublime). He also claims that the sublime is generally the more powerful aesthetic experience. A synopsis of literature on
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SARAFIANOS, ARIS. "Pain, Labor, and the Sublime: Medical Gymnastics and Burke's Aesthetics." Representations 91, no. 1 (2005): 58–83. http://dx.doi.org/10.1525/rep.2005.91.1.58.

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ABSTRACT This paper examines a key moment in the modern history of aesthetics, Edmund Burke's Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757). In contrast to prevailing negative interpretations of Burke's medical languages, this study will reinsert the genealogy of aesthetics into the body, fleshing out the bricolage, the rigor, and the far-reaching implications of the medical materialism that enabled this insertion——including the distinctly modern set of individual, social, and political aspirations that it engendered.
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Cook, Jonathan A. "Poe and the Apocalyptic Sublime." Religion and the Arts 23, no. 5 (2019): 489–515. http://dx.doi.org/10.1163/15685292-02305002.

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AbstractThis essay examines “The Masque of the Read Death,” one of Poe’s most allusive tales, as a striking example of the aesthetics of the apocalyptic sublime. Combining several key ideas from Burke’s Philosophical Enquiry into the Origins of our Ideas of the Sublime and Beautiful with numerous motifs from biblical apocalyptic symbolism, Poe’s “Masque” was specifically designed to create an effect of sublime terror in the reader. Basing his image of mass death on the cholera pandemic of 1832, which killed thousands of individuals in Europe and America, Poe created a historically grounded par
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Blakemore, Steven. ""Without a Cross": The Cultural Significance of the Sublime and Beautiful in Cooper's The Last of the Mohicans." Nineteenth-Century Literature 52, no. 1 (1997): 27–57. http://dx.doi.org/10.2307/2934028.

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This essay demonstrates that James Fenimore Cooper was incorporating the language and values of Edmund Burke's A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757) into the "world" of The Last of the Mohicans (1826). In the Enquiry Burke's distinction between the sublime and beautiful centers on traditional distinctions between men and women-an "eternal distinction" that Burke continually underscores. In Mohicans Cooper initially incorporates the beautiful into the sublime, in an intentionally illusive "mix" that corresponds to the illusory mixing of the whi
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Oroskhan, Muhammad Hussein, and Esmaeil Zohdi. "The Aesthetic Concept of the Beauty in Emily Bronte’s Wuthering Heights." International Letters of Social and Humanistic Sciences 62 (October 2015): 109–15. http://dx.doi.org/10.18052/www.scipress.com/ilshs.62.109.

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This article examines the application of Edmund Burke’s aesthetic concept of the beauty in Emily Bronte’s Wuthering Heights. Edmund Burke’s A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful is a theoretical work which study the human passions at the most basic level. Furthermore, it distinguishes the difference between the sublime and the beauty. The beauty is a passion which arouses love and pleasure. In the same respect, Wuthering Heights is a story full of human passions and it talks about human sufferings and pleasures. The sources of pleasure are expressed
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Hur, Y. J., and I. C. McManus. "Representing the sublime in the VIMAP and empirical aesthetics: Reviving Edmund Burke's A Philosophical Enquiry into the Origins of Our Ideas of the Sublime and Beautiful." Physics of Life Reviews 21 (July 2017): 135–37. http://dx.doi.org/10.1016/j.plrev.2017.05.004.

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Dumler-Winckler, Emily. "Romanticism as Modern Re-Enchantment: Burke, Kant, and Emerson on Religious Taste." Journal for the History of Modern Theology / Zeitschrift für Neuere Theologiegeschichte 22, no. 1 (2015): 1–22. http://dx.doi.org/10.1515/znth-2015-1001.

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AbstractThis essay traces the contours of a trans-Atlantic Romantic legacy of aesthetic, moral and religious taste from its inception in Edmund Burke, through its modifications by Immanuel Kant, to its culmination in Ralph Waldo Emerson’s Divinity School Address. In A Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beautiful Burke suggests that religious experience is an aspect of aesthetic and moral taste. Immanuel Kant follows suit in the Critique of Judgment, offering a distinct account of religious taste. Emerson alludes to yet significantly refines aspects of bot
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Dietrich, Sophie. "Der nordische Naturraum und das Erhabene: Eine Fallstudie // Northern Nature and the Sublime: A case study // El paisaje del Norte y lo sublime: Un caso de estudio." Ecozon@: European Journal of Literature, Culture and Environment 5, no. 2 (2014): 6–22. http://dx.doi.org/10.37536/ecozona.2014.5.2.610.

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Zusammenfassung Im vorliegenden Artikel wird die künstlerische Darstellung der für den Norden Europas charakteristischen, ausgedehnten Nadelwälder anhand eines Fallbeispiels aus der Kunstgeschichte untersucht. Bei dem ausgewählten Kunstobjekt handelt es sich um Caspar David Friedrichs (1774 – 1840) Gemälde Der Chausseur im Walde aus dem Jahre 1814. Zunächst erfolgt eine Bildanalyse unter besonderer Berücksichtigung der Darstellung des Waldes. In diesem Kontext wird erörtert, wie der Künstler dieses Landschaftselement dargestellt hat und inwiefern jene Darstellungsweise mit der symbolischen Bed
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Pignotti, Sandro. "Goethes Wahlverwandtschaften." Arcadia 48, no. 1 (2013). http://dx.doi.org/10.1515/arcadia-2013-0002.

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AbstractThis literary critique of Goethe’s “Elective Affinities” combines three approaches. First, it follows the Italian Germanists Ladislao Mittner and Giuliano Baioni who showed the importance of Edmund Burke’s treatise “A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful” (1757) for Goethe’s poetry. Second, it explores Walter Benjamin’s essay and some thoughts of Hermann Cohen. They show the significance story “Die Wunderlichen Nachbarskinder” for the novel as a whole, the philosophical sense banning images, and the relation between the halacha and aggadah in
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Milne, Esther. "'The Ministers of Locomotion'." M/C Journal 3, no. 3 (2000). http://dx.doi.org/10.5204/mcj.1844.

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'The vital experience of the glad animal sensibilities made doubts impossible on the question of our speed; we heard our speed, we saw it, we felt it as a thrilling; and this speed was not the product of blind insensate agencies, that had no sympathy to give, but was incarnated in the fiery eyeballs of the noblest amongst brutes, in his dilated nostril, spasmodic muscles, and thunder-beating hoofs.' -- Thomas de Quincey (1849), "The English Mail-Coach" For Thomas de Quincey, the thrust of speed is intimately linked with the thrust of the body. Subjectivity is formed by and through a corporeal
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Libros sobre el tema "Philosophical enquiry into the origin of our ideas of the sublime and beautiful"

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Edmund, Burke. A philosophical enquiry into the origin of our ideas of the sublime and beautiful. Oxford University Press, 1990.

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Edmund, Burke. A philosophical enquiry into the origin of our ideas of the sublime and beautiful. Basil Blackwell, 1987.

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Edmund, Burke. A philosophical enquiry into the origin of our ideas of the sublime and beautiful. Dover Publications, 2008.

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Edmund, Burke. A philosophical enquiry into the origin of our ideas of the sublime and beautiful. University of Notre Dame Press, 1986.

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Edmund, Burke. A philosophical enquiry into the origin of our ideas of the sublime and beautiful. B. Blackwell, 1987.

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Edmund, Burke. A philosophical enquiry into the origin of our ideas of the sublime and beautiful. Oxford University Press, 2008.

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Edmund, Burke. A philosophical enquiry into the origin of our ideas of the sublime and beautiful. Penguin Books, 1998.

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Edmund, Burke. A philosophical enquiry into the origin of our ideas of the sublime and beautiful. Oxford University Press, 1998.

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Edmund, Burke. A Philosophical Enquiry Into the Origin of our Ideas of the Sublime and Beautiful. Routledge, 2008.

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Edmund, Burke. Edmund Burke: A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. University of Notre Dame Press, 1993.

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Capítulos de libros sobre el tema "Philosophical enquiry into the origin of our ideas of the sublime and beautiful"

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Bassenge, Friedrich, and Monika Fludernik. "Burke, Edmund: A Philosophical Enquiry into Our Ideas of the Sublime and Beautiful." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8126-1.

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Burke, Edmund. "A philosophical enquiry into the origin of our ideas of the sublime and beautiful (1759)." In The Sublime. Cambridge University Press, 1996. http://dx.doi.org/10.1017/cbo9780511620409.029.

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Bourke, Richard. "The Philosophical Enquiry: Science of the Passions, 1757." In Empire and Revolution. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691175652.003.0004.

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This chapter focuses on Burke's Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. Philosophical Enquiry takes up the thread of preoccupations that absorbed him throughout his twenties. It begins with an exploration of the classical theory of mixed emotions, focusing on Aristotle's signature categories of pity and terror. It proceeds to elucidate the affective psychology of manners, probing the feeling of exhilaration unleashed by pride and the instinct for subordination based on fear. Challenging the deist assumptions of a number of predecessors, Burke argues for the dependence of moral taste on duty. In the process, he articulates the reliance of ethics on religion, and traces the origins and development of superstition. The work also recapitulates Burke's antipathy to stoicism, along with his response to the leading moralists of the age, above all the writings of Hutcheson, Mandeville, and Berkeley, as well as Dubos, Condillac, Hume, and Smith. Although the Enquiry is not a comprehensive treatise in moral philosophy, it provides access to Burke's theory of human nature as it sets about accounting for uniform features of the mind.
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Burke, Edmund. "A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful 1757/1759." In Eighteenth-Century British Aesthetics. Routledge, 2019. http://dx.doi.org/10.4324/9781315224688-12.

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Zepke, Stephen. "Introduction: Exiled from Oneself– Art and Other Strange Migrations …" In Sublime Art. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748669998.003.0001.

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The sublime is a philosophical concept for an experience or sensation that exceeds its subjective conditions, and as such is unrepresentable. The introduction will sketch its development from Edmund Burke’s A Philosophical Enquiry Into the Origin of our Ideas of the Sublime and Beautiful (1757) where it is distinguished from the beautiful and associated with terror, to Kant’s extension of it in his Critique of Judgment (1790). As Kant remains the source of all the contemporary versions of the sublime we will be concerned with, it will be important to have an understanding of his work. In particular, Kant’s affirmation of the autonomy of the aesthetic realm of sensation, and is development of the sublime as an experience that goes beyond its human conditions of possibility will be central to the book. The sublime experience itself can appear within a variety of different affects, but its dominant mode, beginning with Burke, is one of overwhelming terror and pain. Although this affect is important to its aesthetic trajectory, we shall understand the sublime in the somewhat altered sense in which Nietzsche claimed overcoming the human involved the pain of childbirth. In other words the experience of the sublime, and the emergence in Kant’s account of the transcendental realm of the Ideas that reconstitutes human subjectivity, will be rethought as a generative and aesthetic event that takes us beyond our bio-political conditions of possible experience, and expresses the vital force of the future as the transcendental dimension of our material reality. As Antonio Negri has put it, sublime art is the embodiment of an event in action, and as such ‘Art is simultaneously the creation and reproduction of the absolute singular’ (Art and Multitude (Polity press, 2011)).
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Uden, James. "Gothic and Classical in Eighteenth-Century Criticism." In Spectres of Antiquity. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190910273.003.0002.

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This chapter examines the dynamic and evolving relationship between conceptions of “Gothic” and “classical” in mid-eighteenth-century criticism. It argues that both terms were highly changeable in their content and were rarely imagined as mere opposites. The chapter focuses on three authors, all of whom reinterpreted the classical world as an object of private aesthetic experience rather than as a source of political or ethical examples. In his Conjectures on Original Composition (1759), Edward Young imagines the Roman poets as a giant “spectre,” which threatened to overwhelm modern poets, inhibiting their capacity for original creation. In his Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757), Edmund Burke describes a frightening descent into the Underworld of Virgil’s Aeneid as an opportunity to form homosocial bonds with other male readers. Finally, Richard Hurd in Letters on Chivalry and Romance (1762) describes the classical world as a distant forerunner to a more modern preoccupation with enchantment and imagination. In all three of these authors, the classical world is shifting its meaning and significance. It is becoming, paradoxically, increasingly Gothic.
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Pladek, Brittany. "‘Soothing Thoughts’." In Poetics of Palliation. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786942210.003.0004.

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Chapter three begins the book’s survey of palliative poetics developed by Romantic writers, comparing Wordsworth’s ideas about poetic therapy with medical beliefs of the late eighteenth century. The therapeutic holism later ascribed to Wordsworth by literary critics was held by Romantic medicine to be a restorative power of nature, a ‘vis medicatrix naturae’ that could repair a broken constitution in ways doctors could not. But as medicine professionalized, they saw how claims that nature was the real healer could damage their reputation. Their compensatory shift to a palliative ethic was driven in part by a need to renegotiate medicine’s relationship with nature. Similarly, Wordsworth initially hoped his own poetry could replicate nature’s holistic therapy. But in Lyrical Ballads (1798), a collection whose Wordsworthian lyrics extol the superiority of natural medicine, Wordsworth realized his own art could not mimic nature’s healing power. As a result, he turns towards a poetics of palliation grounded in the ‘delight’ outlined by Edmund Burke’s 1757 Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful.
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