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Rozprawy doktorskie na temat „SUBLIME”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 9 czerwca 2025

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Lemos, Renata. "De Ars Sublime Infinitis Minimo: sobre o sublime nanotecnológico." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/4372.

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Made available in DSpace on 2016-04-26T18:11:33Z (GMT). No. of bitstreams: 1 Renata Tavares da Silva Lemos.pdf: 2502157 bytes, checksum: dd9593f73582bfe234482fc695bf62c9 (MD5) Previous issue date: 2012-03-26 This thesis discusses the contemporary developments of Mario Costa's aesthetics of communication in the context of nanoconvergence (the pervasive process of integration between digital, biological, computational and cognitive interfaces). Nanoconvergence is a historical event similar to the advent of cyberspace, which carries an equivalent potential for disruption. Just as Mario Costa's aesthetics of communication present a technological sublime which is mediated via technical images, we propose in this thesis the emergence of an aesthetics of nanocommunication, which proposes a nanotechnological sublime which is mediated through technological individuation.While Mario Costa's technological sublime relies entirely on the Kantian sublime, the nanotechnological sublime is inspired by the transimanent sublime of Schopenhauer. Mario Costa's technological sublime is connected to the virtual and to the digital reproducibility of imaging techniques. However, the nanotechnological sublime refers instead to the materiality and self-reproducibility of its principle of individuation. The nanotechnological principle of individuation acts as a transductive medium between unity of matter and the multiplicity of its material elements and compounds, as stated by Bainbridge, Stiegler and Simondon. The nanotechnological sublime is explored through three stages of research: scientific - research and presentation of the technoscientific achievements of nanotechnology; philosophical - analysis of the specificity of the sublime aesthetics peculiar to these advances in science, and artistic - research and analysis of nanoimages and the collaborative production of video art based on the concept of the nanosublime. Contemporary nanoimages reveal a nanotechnological imaginarium where references to alchemy and medieval ideology are present both in scientific discourse and the poetics of nanoart. The nanotechnological sublime belongs to the semiotic realm in which the visible and invisible are not in opposition, for the materiality of physical reality, established through quantum modulations nanotechnologically manipulated, is perfectly united with the immaterial lightness of the informational codes that enable nanoconvergence Este trabalho aborda os desdobramentos contemporâneos da estética da comunicação de Mario Costa no contexto tecnocientífico da nanoconvergência (o processo de integração pervasiva entre interfaces digitais, biológicas, computacionais e cognitivas). A nanoconvergência é um acontecimento histórico, similar ao advento do ciberespaço, que apresenta potencial equivalente de disrupção. Assim como a estética da comunicação de Mario Costa apresenta um sublime tecnológico mediado através de imagens técnicas, propomos nesta tese o surgimento de uma estética da nanocomunicação, a qual, por sua vez, propõe um sublime nanotecnológico mediado através da individuação tecnológica. Enquanto o sublime tecnológico de Mario Costa se baseia inteiramente no sublime kantiano, o sublime nanotecnológico se inspira no sublime transimanente de Schopenhauer. Se o sublime tecnológico de Mario Costa está ligado à virtualidade e reprodutibilidade digital das imagens técnicas, temos que o sublime nanotecnológico se refere, ao invés, à materialidade e autorreprodutibilidade do seu princípio de individuação. O princípio de individuação nanotecnológico atua como meio transdutivo entre a unidade da matéria e a multiplicidade de seus elementos e compostos materiais, como nos apresentam Bainbridge, Stiegler e Simondon. O sublime nanotecnológico é explorado através de três etapas de pesquisa: científica levantamento e apresentação das fronteiras tecnocientíficas relacionadas à nanotecnologia; filosófica análise da especificidade do sublime que a estética peculiar aos avanços científicos nos evoca; e artística pesquisa e análise das imagens nanotecnológicas e produção colaborativa de vídeo-arte baseada no conceito do nanosublime. As nanoimagens nos revelam um imaginário nanotecnológico no qual referências à alquimia e ao ideário medieval estão presentes, tanto no discurso científico quanto nas poéticas da nanoarte. O sublime nanotecnológico pertence à dimensão semiótica em que o visível e o invisível não estão em oposição e nem caracterizam uma dualidade, pois a materialidade da realidade física, manipulável através das modulações quânticas da nanotecnologia, mostra-se perfeitamente coesa com a imaterialidade característica à leveza dos códigos informacionais da nanoconvergência

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Rebuffel, Didier. "Essais sur le sublime : le sublime et la Résolution française." Paris 1, 1986. http://www.theses.fr/1986PA010559.

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Rebuffel, Didier. "Essais sur le sublime le sublime et la Révolution française /." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb376006946.

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Moreno, Anthony. "The Joycean Sublime." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/901.

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The purpose of my thesis is to analyze notions of the sublime in James Joyce’s Ulysses and how the sublime is evoked and presented in Joyce’s work. The present work will examine concepts of the sublime from the Classical and Medieval period, through the Enlightenment, and into the Romantic era to develop my own definition. Placing the sublime in a historical perspective allows me to discover how the sublime is at work through Joyce’s creative use of complex narrative approaches. The beauty of aesthetic perfection was achieved by employing all of Joyce’s artistic faculties. My thesis investigates how Ulysses’ experimental writing technique, unique structuring, and difficult prose created a work of genius which evokes the sublime. By analyzing Joyce’s use of language, unconventional narrative, and ambiguity in Ulysses I will explore how the sublime is aroused.

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Bruna, Carla. "Sublime, néo-sublime, anti-sublime : le "canon" littéraire italien du XXème siècle dans l'oeuvre critique de Edoardo Sanguineti." Thesis, Université Côte d'Azur, 2020. http://www.theses.fr/2020COAZ2011.

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Le présent travail de recherche, consacré à l’oeuvre critique de Edoardo Sanguineti, porte principalement sur la définition de “canon littéraire italien du XXe siècle” formulée par Sanguineti, et sur les relations entre ce poète et critique littéraire italien et les avant-gardes poétiques du siècle dernier, en rapport avec la question du “sublime” en poésie, ou plutôt de son renversement en fonction d'un thème particulièrement cher à cet écrivain et essayiste politiquement engagé, à savoir celui de la critique de la société bourgeoise. Plus précisément, nous examinons le rôle central que revêt, dans l’oeuvre critique de Sanguineti, la première avant-garde du XXème siècle, sur laquelle il concentre ses études et réflexions en vue de faire ressortir les mouvements et les auteurs qui, à son avis, ont le plus contribué à renouveler le langage poétique au tournant des XIXème et XXème siècles. Dans un paysage exégétique si varié, éclectique, labyrinthique, à bien des égards brisé, construit par accumulation, sans direction unique, mais multiple et allusif, comme celui de Sanguineti, l'expérimentation formelle et le contenu des mouvements d'avant-garde entre les deux siècles représentent un intérêt continu et constant, en particulier dans les essais publiés à la fin des années soixante et dans les années soixante-dix The present research work, devoted to the critical work of Edoardo Sanguineti, focuses mainly on the definition of “Italian literary canon of the twentieth century” formulated by Sanguineti, and on the relations between this Italian poet and literary critic and the avant-garde poetics of the last century, in relation to the question of the “sublime” in poetry, or rather of its overthrow according to a theme particularly dear to this politically engaged writer and essayist, namely that of criticism of bourgeois society. More specifically, we examine the central role of the first avant-garde of the twentieth century in Sanguineti's critical work, on which he concentrated his studies and reflections with a view to bringing out the movements and the authors who, at his opinion, have contributed the most to renew the poetic language at the turn of the XIXth and XXth centuries. In an exegetical landscape so varied, eclectic, labyrinthine, in many ways broken, constructed by accumulation, without single direction, but multiple and allusive, like that of Sanguineti, the formal experimentation and the content of avant-garde movements between the two centuries represent a continuous and constant interest, especially in essays published in the late Sixties and in the Seventies

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Bourrand, Christian. "Wagner et le sublime." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100065.

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Peu d’artistes évoquent autant le sublime que Wagner, lequel, selon Nietzsche ne pouvait « respirer librement que dans le sublime et le supra-sublime ». Pourtant, le sublime wagnérien reste finalement peu analysé, sauf à travers quelques exemples précis.Nous avons donc tenté d’interroger l’ensemble des œuvres lyriques et certains écrits esthétiques de Wagner, pour les confronter à la tradition du sublime et à la philosophie qui s’en réclame. La tradition du sublime nous a donné de précieux éclairages sur la musique et l’action dramatique à partir du sublime poétique chez Longin, du sublime de l’obscur chez Burke, du sublime mathématique et du sublime dynamique de Kant, du sublime pathétique chez Schiller… Toutefois, de simples catégories ne suffisent pas à rendre compte de certains modes opératoires du sublime wagnérien. Il faut moins chercher d’autres clefs que se référer à une conception du sublime vraiment principielle et ouverte.De ce point de vue, le sublime n’est pas seulement une catégorie, une manière de parler et de classer : c’est un principe à la fois originaire, impératif et fondateur, comme l’a montré Baldine Saint Girons. Et toute la difficulté est de comprendre les articulations possibles entre un sublime pensé à partir de ses véhicules privilégiés (grandeur, laideur, obscurité, simplicité), un sublime analysé à partir de ses effets généraux (enthousiasme, étonnement, respect), et un sublime conçu comme principe, introduisant donc à la question des enjeux.Le problème tient au fait que le sublime est principe de lui-même en même temps que de l’expérience qui le découvre. Notre objet est donc de repérer les signifiants privilégiés de l’expérience du sublime, au moment où lui-même comme principe tend à se dérober.Nous essayons de montrer les seuils que franchit le sublime wagnérien et son élan vers un sublime cosmique. La « mélodie infinie » de Wagner perce néanmoins obliquement, comme, par exemple, dans le « thème du regard » de Tristan. Il ne s’agit justement plus de simples « thèmes » au sens classique, car leur « dire » - comme celui de Levinas - ne se réduit jamais en un dit « thématisable », mais poursuit son élan, telle la vrille du sublime Few artists evoke, as much as Wagner, the Sublime. According to Nietzsche: « more than anyone else », he could « breathe freely only in the Sublime and the supra Sublime » (The case of Wagner). However, the Wagnerian Sublime was finally few analysed, except through some precise examplesSo we tried to question the whole of lyric works and some of the aesthetic writings of Wagner, confronted with the tradition of Sublime, and the philosophies which are claim for these last. Sublime’s tradition gave us invaluable references on music and dramatic action, from poetic Sublime in Longin, Burkian Sublime of obscure, Kantian categories of « mathematic » or «dynamic » Sublime, pathetican Sublime of Schiller … However, the simple categories are not enough to give an account of the Wagnerian Sublime. We must, less seek other keys, than refer to conception of Sublime really from principle and open. From this point of view, Sublime is not only a category, a manner of speaking or classifying : it is a principle, at the same time originating, imperative and founding, as shown by Baldine Saint Girons. And all the difficulty is to understand the possible articulations of a Sublime thought from its privileged vehicles (greatness, ugliness, darkness, simplicity), a Sublime analysed from its general effects (enthousiasm, astonishment, respect), and a Sublime conceived as principle, so introducing to the question of the issues. The problem is due to the fact that the Sublime is principle of itself in the same time that of the experiment which discovers it. Our object is thus to locate the privileged meanings of Sublime’s experience, while itself as a principle tends to escape.We try to show the thresholds which crosses the Wagnerian Sublime and his impulse towards a cosmic Sublime. The « infinite melody » of Wagner is piercing nevertheless obliquely, like in, for example, the «glance theme » in Tristan. Precisely it is no more classical « themes », because their saying – like in Levinas – can’t be reduced in a thematisable said, but continue his impulse, like the spin of Sublime

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Ventura, Elisabeth. "Le sublime du comédien." Paris 10, 2012. http://www.theses.fr/2012PA100103.

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Sous la figure rhétorique du paradoxe, Diderot fut le premier philosophe à réfléchir sur l’art du comédien dans une perspective esthétique. A sa suite, nous creuserons ce qu’on pourrait appeler « la matière-comédien », en plaçant au centre de notre recherche la question de l’incarnation : le comédien, medium poétique de l’évènement théâtral, sera le sujet de notre étude. Comment façonne-t-il son corps pour le métamorphoser en réceptacle glorieux de l’incarnation du verbe ? Comment le souffle poétique se dépose en lui ? L’art du comédien ouvre immédiatement à une réflexion sur l’omniscience du sensible : à la fois maître des projections poétiques et matériau vivant de leurs réalisations, « ordonnateur lucide et sujet enivré » selon la formule de la grande comédienne Simone, le comédien est l’opérateur sensible de l’évènement théâtral. Au moment de la représentation, après des semaines de répétitions, de recherches, de mise en mots et de mise en corps, il ne doit plus « penser qu’à penser », comme le répétait Sarah Bernhardt à ses jeunes élèves. Non seulement il a pour tâche de conjuguer l’espace de son corps à ceux de la scène et de la salle, mais il doit maintenir tendu le « fil écarlate de l’intrigue » dont parle Cocteau : le comédien démultiplié, « passeur » de sublime, édifié le pont émotionnel qui conduira le spectateur à pénétrer l’espace infini de la poésie. Ouvrier de la signifiance, le comédien travaille au sublime et le sublime le travaille Under the rhetorical figure of paradox, Diderot was the first philosopher to reflect upon the art of the actor in an aesthetic perspective. To the continuation of his analysis, we will further into the “actor-matter”, focusing our research on the question of embodiment: the actor, poetic medium of the theatrical event, will be the topic of our study. How does the actor model his body to change it into the glorious receptacle of the incarnation of words ? How does the breath of poetry settle into him? The art of the actor immediately invites one to reflect upon the omniscience of sensitivity. Master of poetic projections as well as living matter of their fulfillment, “lucid regulator and intoxicated subjet” to quote the great actress Simone, the actor is the sensitive operator of the theatrical event. When “show-time” comes, after weeks of rehearsal, of research, of shaping words and shaping bodies, the actor must only “think to think”, as Sarah Bernhardt would repeat to her young students. The actor must link his body space to that of the stage and of the entire theatre. But his task is also to keep tight the “scarlet string of the plot”, mentioned by Cocteau. The pluralized actor, “mediator” of the sublime, builds the emotional bridge, which will ead the audience into the infinite space of poetry. Worker of significance, the actor works on the sublime and the sublime works on him

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Trémolières, François. "Fénelon et le sublime." Paris 4, 2002. http://www.theses.fr/2002PA040125.

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Fénelon (1651-1715) est l'un des premiers témoins de l'importance nouvelle du sublime, après la traduction par Boileau du Traité du sublime de Longin (1674). Nous avons consacré un premier chapitre à la réception de ses écrits sur la rhétorique : les Dialogues sur l'éloquence, vers 1679, mais parus trois ans après sa mort ; la Lettre à l'Académie, quasi son dernier texte. La lecture des Dialogues (chapitre deux) nous a conduit, par ce qui nous a semblé leur logique propre, à déplacer notre intérêt du côté des écrits philosophiques et théologiques (chapitre trois), avant d'accéder à un deuxième ensemble d'occurrences du sublime, centré sur la spiritualité du pur amour (chapitre quatre). C'est seulement au terme de ce parcours qu'il nous a été possible de revenir aux enjeux " mondains " du sublime : celui " si familier, si doux et si simple " qu'appelle de ses vœux la Lettre (chapitre cinq) ; notre sixième et dernier chapitre privilégie Les aventures de Télémaque Fénelon (1651-1715) is one of the first authors to recognise the new importance of the sublime, following the translation by Boileau of Longin's Traité du Sublime (1674). The first chapter of this thesis concentrates on how his writings on rhetoric : the Dialogues sur l'éloquence, ca 1679, published three years after his death and the Lettre à l'Académie, one of his last works, were received. The reading of the Dialogues (chapter two) lead me logically to the study (chapter three) of the philosophical and theological writings, which in turn clearly pointed to a second set of occurrences of the sublime, focusing on the spirituality of "Pure Love" (chapter four). In my opinion, this course of study was necessary in order to come back to the question of wordly sublime: "so familiar, so sweet and so simple" referring to his wishes in the Lettre (chapter five). The final and sixth chapter deals with Les aventures de Télémaque

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Kuffner, Joshua A. "Illuminating the Sublime Ruin." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367941361.

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Lim, Kheng Saik. "Searching for the Sublime." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/6108.

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The influential philosophers Edmund Burke and Emmanuel Kant understand the sublime as events and objects that cause an emotional reaction so magnificent that the intellect fails to comprehend it. It is thus deeply felt and experienced but remains undefined and non-understood. Searching for the Sublime is a suite of paintings that seek to respond to these definitions of the sublime. Together they address and evoke themes of mystery, fear, power, and the unknowable through the medium of painting.

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Vernon, Alyss Marie. "Reflecting on the sublime." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2651.

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A place exists where memories and daydreams are allowed to mingle. This place is safe. Away from judgmental eyes. Away from outside influences. This place is safe. Free from the constraints of time and obligation. This place is safe. Attach yourself to this small corner of the world. This is your space, claim this space, for This place is safe.

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Stanley, Lawrence K. "Metaphoricity and the sublime moment : studies in some contemparary theories of the sublime." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334881.

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Scalco, Diego. "L’art abstrait et la tradition du sublime : du sublime comme principe de critique d’art." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100143.

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Le présent travail a pour objectif de montrer que les réflexions théoriques et les remarques à caractère technique suscitées au cours de l’histoire par le sublime permettent d’approfondir la question du sens de l’art abstrait. En retour, il vise à tracer les voies par lesquelles l’art abstrait porte à témoigner du sublime, à le penser et à le reconnaître. La relation que l’art abstrait entretient avec la tradition du sublime n’est pas univoque, car certaines parmi ses manifestations tendent à confluer dans la tradition du beau et à renouer avec la pratique de la mímēsis (dont la notion classique déborde les notions modernes d’imitation, de représentation et de figuration). Force est de constater que l’impression d’étrangeté provoquée par le sublime se distingue du plaisir de la reconnaissance qui accompagne le beau et qui est l’effet de la mímēsis accomplie. Ainsi il s’agira de départager l’abstraction, laquelle aurait pour objet l’harmonie sous sa forme abstraite, et l’art abstrait, lequel procurerait un émoi propice au sublime. Cet émoi ne constituera pas le seul critère discriminant en matière de choix des démarches à comparer. D’autres aspects seront pris en considération, à savoir la simplicité, la grandeur et l’obscurité, qui, sous certaines conditions et une fois réunies, peuvent prêter existence au sublime. L’intérêt de l’approche proposée consiste à considérer différentes pratiques abstraites sous un angle, celui du sublime, qui offre la possibilité de les relier à des pratiques figuratives, poétiques, oratoires ou architectoniques dans une perspective historique, mais aussi d’en reconnaître les enjeux et les difficultés spécifiques The objective of this thesis is, on the one hand, to show how the theoretical reflections and technical considerations raised throughout history by the sublime allow a deeper understanding of the meaning of abstract art. On the other hand, this thesis explores the way in which abstract art gives rise to the experience of the sublime and therefore to a reflection on it and to its recognition. The relation between abstract art and the tradition of the sublime is not unproblematic. Some of the manifestations of abstract art have a tendency to relate to the tradition of beauty and the practice of mímēsis (whose classical meaning goes beyond the modern notion of imitation, representation and figuration). It is important to note that the impression of strangeness provoked by the sublime differs from the pleasure gained from the recognition that accompanies beauty and is the effect of the accomplished mímēsis. Therefore, it is a question of distinguishing between abstraction, whose objective is harmony in its abstract form, and abstract art, which provokes an agitation that can generate the sublime. In addition to agitation, other aspects will be taken into consideration, namely simplicity, grandness and obscurity. These aspects can, under certain conditions and once they are brought together, give rise to the sublime. The approach of this thesis is important because it considers abstract practices from the angle of the sublime which offers the possibility (a) to link abstract practices with figurative, poetic, oratory or architectural practices in a historical perspective, and (b) to identify specific issues and problems of abstract practices

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Pérez, Roger. "The Appearing of the Sublime: the Recovery of the Sublime in Nature through Art." Pontificia Universidad Católica del Perú, 2014. http://repositorio.pucp.edu.pe/index/handle/123456789/119576.

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The Kantian interpretation of the sublime proposes in its assessment a predominant place to the contemplation of nature. Contemporary interpretations, on the other hand, focus their attention upon the capacity of art as a de-structuralizing element, in order to give an account of a historical development of the arts in the way of the sublime. The present paper holds that, since Martin Seel’s Aesthetics of Appearing, it is possible to link both approaches by means of an existential interpretation of the experience of the sublime that stresses the role of time, and thus recovers the experience of the natural sublime in the absence of a super-sensible foundation. La interpretación kantiana de lo sublime propone en su enjuiciamiento un lugar preponderante a la contemplación de la naturaleza. Las interpretaciones contemporáneas, por su parte, fijan su atención en la capacidad del arte como elemento desestructurante, a fin de dar cuenta de un desarrollo histórico de las artes en la vía de lo sublime. El presente trabajo sostiene que, desde la Estética del aparecer de Martin Seel, es posible vincular ambas lecturas a través de una interpretación existencial de la experiencia de lo sublime que enfatice el rol del tiempo y recuperar así la experiencia de lo sublime natural en ausencia de un fundamento suprasensible.

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Jorgensen, Darren J. "Science fiction and the sublime." University of Western Australia. English, Communication and Cultural Studies Discipline Group, 2005. http://theses.library.uwa.edu.au/adt-WU2005.0116.

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[Truncated abstract] This thesis makes three assertions. The first is that the sublime is a principal pleasure of science fiction. The second is that the conditions for the emergence of both the sublime and science fiction lie in the modern developments of technology, mass economy and imperialism. Maritime and optical technologies; the imagination that accompanied imperialism; and the influence of capitalism furnished the cognition by which the pleasures of both science fiction and the sublime came into being. The third claim is that a historical conception of the sublime, one that changes according to the different circumstances in which it appears, offers privileged insights onto changes within the genre. To make such extensive claims it has been necessary to make a cognitive map of the development of both the sublime and science fiction. This map reaches from the Ancient Romans, Lucian and Longinus; to Thomas More, Jonathan Swift, Johannes Kepler, Voltaire and Immanuel Kant; to Edgar Allan Poe, Mary Shelley, Jules Verne and H.G. Wells. This thesis then examines how the features of these fictions mutate in the twentieth-century fiction of A.E. van Vogt, Clifford Simak, Philip K. Dick, Arthur C. Clarke, Ivan Yefremov, the Strugatsky brothers, J.G. Ballard, Pamela Zoline, Ursula Le Guin, Vonda McIntyre, Octavia Butler, Kim Stanley Robinson, Stephen Baxter, William Gibson, Ken MacLeod and Stanislaw Lem. These writers are considered in their own specific periods, and in their national contexts, as they create pleasures that are contingent upon changes to their own worlds. In representing these changes, their fictions defamiliarise the anxieties of the reading subject. They transcend the contradictions of their times with a sublime that betrays its own conditions of transcendence. The deployment of the sublime in these texts offers a moment of critical possibility, as it betrays the fantasies born of a subject's relation to their world

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Duffy, Cian. "Shelley and the revolutionary sublime /." Cambridge [u.a.] : Cambridge Univ. Press, 2005. http://www.loc.gov/catdir/enhancements/fy0659/2006274988-d.html.

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Duffy, C. "Shelley and the revolutionary sublime." Thesis, University of Cambridge, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.598671.

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The dissertation explores the relationship between the sublime and the revolutionary in Shelley's work. It rejects conventional attempts to locate Shelley's interest in the natural sublime within a perceived movement away from radical empiricism towards an increasingly apolitical philosophical idealism, and disputes the historical validity of reading that interest alongside Immanuel Kant's Critique of Judgement (Leighton, Endo). Shelley's interest in natural grandeur is rather read as an engagement with the eighteenth-century British discourse on the natural sublime. More precisely, the dissertation argues that Shelley was concerned to revise the conventional, pious and theistic configuration of that discourse along politically radical and epistemologically sceptical lines, and documents the history of this concern in his oeuvre. Shelley's engagement with the discourse on the sublime was premised, it is argued, upon the notion of a 'wise' or educated imagination, an imagination 'considerably tinctured with science and enlarged by cultivation' (A Refutation of Deism). Such an imagination reads the landscape of the natural sublime not as evidence of God's immanent presence in creation, but as exhibiting systematic natural processes which expose the artificiality - the un-naturalness - of the current political order. A major corollary of the dissertation, then, is the claim that the concept of the 'legislating' imagination that informs Shelley's Defence of Poetry was worked out - and can only be fully understood - within the context of a lifelong engagement with the discourse on the sublime. However the dissertation also shows that Shelley's engagement with the discourse on the sublime was far from unambiguously successful. Conversely, it traces the highly problematic intersection of that engagement with Shelley's ostensibly gradualist politics. Shelley's early qualms about the political affiliations of extreme affect quickly gave way to a confidence in the political potency of the 'cultivated imagination'.

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Barnes, Sara Elizabeth. "Autopsic art : sublime, abject, spectacular." Thesis, Lancaster University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543954.

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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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Lange, Sarah. "In search of the sublime." Honors in the Major Thesis, University of Central Florida, 2003. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/322.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information. Bachelors Arts and Sciences Fine Art

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Gallie, Nicholas. "The sublime of climate change." Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/76096/.

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The category 'sublime', when applied to the natural world, has long been associated in Western culture, with extremes of vastness and power. When encountered, that which is deemed sublime, by virtue of these qualities, has the effect of overwhelming the mind, such that it is thrown simultaneously into a state of astonishment, admiration and horror. We are both humbled and elevated by what we behold and momentarily struck dumb, such that, in its Kantian formulation, our appreciation of that which we take to be sublime, granted us through the powers of reason, has the effect of ennobling us, as moral beings. The concept of the sublime has continuously evolved from its classical origins right up to its present day post-modern formulations. The diversity of its forms suggests that the sublime can be regarded as polythetic. My thesis examines, how, through its different formulations, the sublime may be meaningfully applied to our perceptions of present day climate change, and the different implications arising from these applications. My thesis asks: what is the sublime of climate change? When we look at climate change through the lens of the sublime, what do we see, and what is obscured? What is the effect on us, of opening ourselves to climate change as sublime? What implications might the sublime of climate change have for the future direction of society and therefore for the construction of climate policy and for its communication? Original research, in the form of in-depth, unstructured, one to one interviews was conducted among senior climate scientists, business leaders and policy makers, writers and academics, inviting them to explore the theme of climate change, science and the sublime. My thesis findings are derived from my analysis of these discussions.

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Perry, V. J. "Slavery, sugar and the sublime." Thesis, University College London (University of London), 2010. http://discovery.ucl.ac.uk/19501/.

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The study examines the relationship between eighteenth and early nineteenth century British visual culture and the wealth created from slave-trading, Caribbean sugar plantations and the colonial transatlantic trade. Influenced by Edward Said’s Culture and Imperialism - and drawing on the evidence of buildings, landscapes and archives - I demonstrate that imperial links were manifest not only, as Said argues, in British literature, but also explicit in the architecture, interiors and landscapes commissioned by Britain’s eighteenth century elite. But the visual connections between Britain and its maritime colonial empire were not just manifest in the design of individual buildings or landscape gardens. The growing prosperity of provincial ‘Atlantic’ ports such as Bristol, Liverpool, Lancaster, Whitehaven and Glasgow had a profound effect on Britain’s ‘cultural geography’ - a shift towards the Atlantic west that was manifest in new aesthetic attitude towards wild and untamed landscapes. The profits from colonial plantations helped transform the perception of remote, often agriculturally unproductive uplands of western Britain into places of aesthetic value. I show, for instance, how financial investments made by ‘Atlantic’ colonial planters and merchants in north Wales, Cumberland and Scotland were instrumental to the creation of ‘Snowdonia’, ‘The Lakes’ and ‘The Highlands’ as ‘scenic’ tourist destinations. The fashion for landscape tourism was not just confined to Britain. The celebration of uncultivated ‘Nature’ also became a means to dignify colonial exploration and travel. I investigate the significance of landscape theorists Edmund Burke’s and William Gilpin’s connections with the colonial Atlantic trade, the critical influence of absentee planters on the popularity of picturesque landscape tourism and discuss how landscape art was used to represent the Caribbean colonies at a time of growing anti-slavery sentiment in Britain.

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Waggener, Joshua Alton. "Mendelssohn and the musical sublime." Thesis, Durham University, 2014. http://etheses.dur.ac.uk/10610/.

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How does the aesthetic category of the sublime, in its various formulations from the eighteenth and early-nineteenth centuries, assist in explaining the significance of Felix Mendelssohn and his compositions to English and German audiences in his lifetime and beyond? Due to the conceptual proximity of a number of formulations of the sublime to primary traits of his compositional output, Mendelssohn’s life and work can be understood through the categories of sublime aesthetics. Despite challenges in his reception and complexities in modern scholarship, Mendelssohn’s biography and musical accomplishments consistently show conceptual and contextual relations to a wide variety of sublime formulations. Mendelssohn’s early life and works display a prodigious musical talent impacted by multiple sublime influences, including the ‘sublime’ music of George Frideric Handel. His most popular early overtures – Midsummer Night’s Dream, Calm Sea and Prosperous Voyage, and The Hebrides – demonstrate connections with an even wider range of sublime objects and concepts. Although Mendelssohn’s works from the 1830s and 1840s show an increasing appreciation for historical genres and forms, this does not represent a ‘decline’ from ‘sublime’ standards of originality, but an ‘ascent’ to new heights of ‘genius’, according to early nineteenth-century standards. His late works such as the Lobgesang, the Berlin Psalm Introits, and Elijah confirm his ability to create music modelled on sublime predecessors, communicating ‘Grand Concepts’, and expressing ineffable feeling. Overall, this thesis aims to show that the sublime can serve to evaluate the music of Mendelssohn using contextually-appropriate aesthetic concepts, thus offering a new understanding of his compositional accomplishments.

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Mitrocsak, Nandor. "Death and the sublime landscape." College Park, Md.: University of Maryland, 2008. http://hdl.handle.net/1903/8267.

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Thesis (M.Arch.) -- University of Maryland, College Park, 2008. Thesis research directed by: School of Architecture, Planning and Preservation Architecture. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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Buignet, Christine. "Du sublime dans la photographie /." Aix-en-Provence : C. Buignet, 1992. http://catalogue.bnf.fr/ark:/12148/cb370655098.

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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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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 D.M.A. 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. 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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Saint, Girons Baldine. "Fiat Lux : une philosophie du sublime." Paris 10, 1992. http://www.theses.fr/1992PA100017.

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Avec le sublime surgit une certaine forme de réalité qui nous met en cause en nous éblouissant. Tenter une philosophie du sublime, c'est prétendre construire la définition d'un objet évanescent et rebelle à tout canon, en ressaisir les effets sur un témoin mortifié et rechercher l'enjeu qui lui est alors révélé. Seule, une théorie du risque nous a semblé pouvoir rendre compte à la fois des différentes formes de l'incertitude du sujet, suspendu entre le ravissement et l'angoisse des liens défaits. Le sublime outrepasse la forme, exhibe l'envers caché, brouille les repères et efface les traces de l'art. Aussi bien l'égarement du grand, la commotion du laid et le vertige de l'obscur tendent-ils à supprimer le beau, dont la simplicité a pour vocation d'assurer le retour en effaçant le soupçon du piège. Or, l'expérience de la déstabilisation du monde trouve son corrélat dans celle de la suspension du moi. L'enthousiasme antique emporte l'adhésion de tout l'être, l'étonnement burkien ébranle le sujet dans son intimité et le respect entraîne chez Kant hiérarchie et clivages. Si des effets l'on remonte maintenant aux causes, la confrontation au pouvoir, les souffrances de la passion et la volonté de vertu témoignent des efforts tentés par le sujet incarné pour accoucher d'un sublime, qu'il ne saurait revendiquer comme principe de création et d'action, parce qu'anonyme et transpersonnel With the sublime a certain form of reality emerges which questions us while dazzling us. To attempt a philosophy of the sublime is to pretend to construct the definition of an object which is evanescent and refractory to any model, to grasp its effects on a mortified witness and seek the stake which is then revealed to him. It seemed to us that only a theory of risk could account both for the different forms of the wavering of the perceptible and for the uncertainty of the subject in suspense between rapture and fear of undone bonds. The sublime goes beyond form, displays the hidden reverse side, blurs the reference marks and blots out the traces or art. Just as the distraction of the great, the shock of the ugly and the dizziness of the obscure have a tendency to do away with the beautiful, the simplicity of which is bound to ensure its return while removing the suspicion of the pitfall. Yet, the experience of the destabilization of the world finds its correlation in that of the suspension of the ego. The longinian enthusiasm wins the adhesion of the whole being, the burkean amazement upsets the subject in its intimacy and respect brings out hierarchy and celavages in Kant. If we now go back from the effects to the causes, the confrontation to power, the sufferings of passion and the will for virtue indicate the efforts made by the embodied subject in order to bring forth a sublime which he would not be in a position to claim as a principle of creation and of action because it is anonymous and transpersonal

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Lewis, Mia Pfost. "The anguished "T" : an egotistical sublime? /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3164524.

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Zhou, Mi. "Sublime noise : reading E.M. Forster musically." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608553.

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Kain, Jacob E. (Jacob Evelyn) 1974. "Sublime endeavours : connecting earth to sky." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/67528.

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Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000. Includes bibliographical references (p. 81-83). We live in an era in which we come closer everyday to conquering the elements, to a degree that earlier humans could scarcely dream of. Nearly one hundred years ago, we took to the skies, and learned to fly. Today the act of flight is an everyday experience for most people. Many of us move between the earth and sky without much contemplation. We have come to take the experience of flight for granted, pushed it out of sight and from the senses. There is a place on earth where the spirit of flight is alive and celebrated like nowhere else. It is a place which honors those who experiment and have made the act of flight an everyday possibility. Those who have yet to leave the earth and are dreaming about what it might be like to inhabit the sky. Those that are finding ways to discover new frontiers in space, in hopes of finding life elsewhere. Oshkosh, Wisconsin and the Experimental Aircraft Association (EAA) bring this world together during their annual airshow at Wittman Regional Airport, to collaborate in the search and celebration of what flight is all about. This thesis aims to address and encourage the transition from earth to sky at Oshkosh. by Jacob E. Kain. M.Arch.

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Timberlake, John. "The sapphic sublime of Frederick Sommer." Thesis, Goldsmiths College (University of London), 2012. http://research.gold.ac.uk/7902/.

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The central focus of my thesis is the aesthetics of the sublime in the work of Frederick Sommer (1905-1999), beginning with, but extending beyond, an encounter with Sommer’s Arizona landscape photography of the World War II period. Sommer’s oeuvre is notable for its cross disciplinary character, with no single element – photography, collage or drawing (this latter could as easily be described as painting) accorded primacy, and the thesis acknowledges this aspect as central to reading both the works individually and Sommer’s practice collectively. The multifarious aspect of Sommer’s practice has resonances with my own artistic concerns in relation to photography, drawing, montage and landscape. Taking Sommer’s desert floor photographs of 1940-45 as a starting point, I problematise the Kant-derived conceptions of the sublime in what is, to date, the most prominent monograph commentary on Sommer. I argue that the radical nature of Sommer’s work of this period does not conform to the descriptions offered by Kant, and, moreover, that what is significant about the works of this period are the formal challenges to the figure/ground dyadic relationships associated with depictions of the Kantian sublime. The thesis goes on to explore the sublime affect in Sommer’s oeuvre, as a whole, and I discuss the affective tropes of fragmentation and immersion that are constitutive of it. Reviewing some of the writing on Sommer’s work to date, the thesis draws upon a close reading of Sommer’s photographic prints and technique in the context of his wider practice, alongside work done over the past four decades in Literature, Women’s Studies, Lesbian and Gay Studies and Classical Studies, to propose that a model of the Sapphic Sublime as appropriate to Sommer’s work of this period. To this end, throughout the thesis and my reading of Sommer, I draw upon theories pertaining to literature as much as visual art.

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Schimke, Susan M. "The other side of the sublime." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1303312270.

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Molyneux, Joan. "Chance and Serendipity: Locating the Sublime." Thesis, Griffith University, 2010. http://hdl.handle.net/10072/366126.

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This exegesis examines the differences between chance and serendipity in contemporary art, with particular reference to the sublime. I use two major qualitative research strategies to clarify these differences: (1) Fine and Deegan’s (1996) methodology which emphasises the importance of serendipity in research and; (2) case studies with the artists Jackson Pollock and Rebecca Horn, analysed in light of several authors such as Kant and Burke. Data on these themes of chance, serendipity and the sublime has not only been collected from books, archives, published reports, reviews and interviews, but also from studio investigations deriving from on-site engagements with a location known as Gorman’s Gap near Toowoomba in Southern Queensland, Australia. This studio work entitled Located Dialogues is contextualised through analyses of Pollock and Horn. I make the claim that Jackson Pollock’s drip paintings are better understood through theories of serendipity rather than chance. In addition, Pollock’s drip paintings are analysed alongside the seemingly disparate mechanical drawings of Rebecca Horn in order to demonstrate their alignment with the idea of the dynamic sublime. Throughout this research it has been my close association to these artists and certain aspects of their work that has directed my line of enquiry and informed my art practice. This study creates a methodology suitable for further research into the serendipitous in art practice. Thesis (Professional Doctorate) Doctor of Visual Arts (DVA) Queensland College of Arts Full Text

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Peyrache-Leborgne, Dominique. "La poétique du sublime de la fin des Lumières au Romantisme : Diderot, Schiller, Wordsworth, Shelley, Hugo, Michelet /." Paris : H. Champion, 1997. http://catalogue.bnf.fr/ark:/12148/cb36171156z.

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Sama, Lindor Sterline. "Le sublime chez Giambattista Vico, de l’esthétique à la politique : sublime, rhétorique et politique dans la philosophie vichienne." Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080046.

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L’objectif principal de ce travail est d’analyser les variations du sens du sublime chez Vico et de déterminer comment le sublime comme moment déclencheur de l’andar raccogliendo, l’aller en rassemblant, participe à la fondation de la communauté politique. C’est à partir de l’expérience de la foudre, moment sublime par excellence que commence le long processus de développement de l’esprit des « bestioni » qui erraient dans les grandes forêts postdiluviennes. Par une imagination vigoureuse, ces derniers créent les « universaux fantastiques » ou « caractères poétiques », qui seront leur premier mode d’appréhension du monde. Ainsi, quittent-ils leur état de brute pour atteindre progressivement l’humanité. C’est sur ce concept d'« universaux fantastiques » que Vico fonde sa nouvelle science. De cette façon, il réhabilite l’imagination, la fantasia, et lui confère un rôle important dans la recherche de la vérité, proposant ainsi une réflexion qui tient compte de toutes les propriétés de l’esprit humain. En fervent défenseur de cette discipline placée en dehors du champ de la connaissance par certains philosophes dont Descartes notamment, Vico étudie les transformations de l'esprit humain à travers différents moments de son évolution. Aussi, invente-t-il une esthétique entièrement fondée sur le sublime. Sa démarche rappelle celle de Kant, qui, dans sa première Critique, définit les règles de base de la connaissance en partant du sensible. Par conséquent, pour comprendre la méthode utilisée par le philosophe napolitain sur l’évolution de l’esprit, il nous a semblé nécessaire de partir de l’esthétique kantienne. Toutefois, la possibilité de réfléchir sur le sublime chez le philosophe napolitain n’étant pas limitée au sensible, il convient d’en déterminer le sens lors du passage de l’âge poétique à l’âge de la « raison entièrement développée ». Considéré comme moment où tous les repères symboliques sont suspendus, le sublime a la particularité de modifier l’ordre des choses en vue de faire émerger de nouvelles institutions symboliques. C’est ce que nous observons dans la Science nouvelle au moment du soulèvement de la plèbe contre le patriarcat. C’est ce moment sublime qui favorisera l’émergence de la démocratie dans les cités, que Marc Richir appelle « sublime en politique ». Il existe donc un lien entre ce dernier et Giambattista Vico quant à la manière dont ils ont tous les deux réfléchi sur la problématique de la fondation sociopolitique The main objective of this work is to analyze the variations of the meaning of the sublime by Vico and determine how the sublime, as the trigger moment of « andar raccogliendo », participates in the foundation of political community. It’s from the lightning-experience, of the sublime moment that begins the long process of development of the « bestioni » mind who wandered in the great post diluvian forests. By a vigorous imagination, they created the « universals fantastics » or « poetic characters, » which will be their first mode of apprehension of the world. So they are ready to leave their raw state to gradually reach humanity? Thus, at this the concept of «fantastics universals » that Vico founded his new science. In this way, he rehabilitates the imagination, fantasia, and gives it an important role of searching the truth, by proposing a reflection that takes into account all the properties of the human mindset. As a fervent defender of this discipline placed outside the field of knowledge by certain philosophers including Descartes, Vico studied the transformation of the human spirit through different moments of its evolution. So he invented entirely based on « aesthetic sublime ». His approach reminds us Kant, who, in his first criticism, defines basic rules of knowledge starting from the sensitive. The possibility of thinking on sublime as the Neapolitan philosopher not being limited to the poetic age, it should be determined during the passage from the poetic age to the age of « fully developed reason ». Considered as the moment where all symbolic references are suspended, the sublime has the particularity of modifying the order of things to bring out new symbolics institutions. This is what we observe in the new science, during the raising of the plebians against the patriarchy. It is this sublime moment that will favor the emergence of democracy in the cities, which Marc Richir called « sublime in politic». There is a connection between them, as they both reflected the problem of the socio-political foundation

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Wittenberg, Hermann. "The sublime, imperialism and the African landscape." Thesis, University of the Western Cape, 2004. http://etd.uwc.ac.za/index.php?module=etd&amp.

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In this dissertation the author argued for a postcolonial reading of the sublime that takes into account the racial and gendered underpinnings of Immanuel Kant's and Edmund Burke's classic theories. The thesis used the understanding of the sublime as a lens for an analysis of the cultural politics of landscape in a range of late imperial and early modern texts about Africa. A re-reading of Henry Morton Stanley's central African exploration narratives, John Buchan's African fiction and political writing, and later texts such as Alan Paton's fiction, autobiographies and travel writing, together with an analysis of colonial mountaineering discourse, suggest that non-metropolitan discourses of the sublime, far from being an outmoded rhetoric, could manage and contain the contradictions inherent in the aesthetic appreciation and appropriation of contested colonial landscapes.

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Threapleton, James E. "The corroded surface : portrait of the sublime." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/9193/.

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Derived from the Latin corrodere, meaning to ‘gnaw to pieces’, corrosion as a transformative physical process is nature at its most sublime, engendering fear and power, producing the obscure and reducing form to the darkness ‘beneath all beauty as promise of its ultimate annihilation’ (Beckley, 2001: p. 72). The thesis considers corrosion as subtraction, erasure and negation in relation to the painting process. Through experimentation with the ruination of both content and painting’s plastic, material properties the thesis reflects upon how the disruption or destruction of image and surface might relate to the un- representable. Within the history of twentieth century art negation has been cited as the defining spirit of the Modernism (TJ Clark: 1986). Jean François Lyotard suggests that it is the sublime that has provoked this destructive, nihilistic tendency and given Modern and postmodern art its ‘impetus and axioms’ (Lyotard: 1979). As the 2010 Tate research project, The Sublime Object attests, the sublime is once again ‘now’. Painting was conspicuous in its absence from the project, perhaps because as Simon Morley states ‘most sublime artworks these days tend to be installations. It is certainly getting harder for painting, the traditional vessel for evoking visual sublimity, to elicit such effects’ (2010, p. 74). This thesis will examine Morley’s position by considering how the composition of the un-presentable may be alluded to through de-composition and corrosion in painting. An expressionist enquiry into the tension between figure and ground the thesis investigates a relationship between mark, surface and the sublime.(1) Notoriously difficult to capture, the sublime is intrinsically contradictory, making an effective, overarching theory on the subject all but impossible to sustain (Forsey: 2007). Highlighting some of the problems surrounding the theory of the sublime James Elkins, in his essay ‘Against the Sublime’ (2009), suggests that the term has been mistaken for a trans-historical category and that it has been used and abused to smuggle religious content into contemporary critical writing. Further more, he describes the post-Kantian postmodern sublime as so intricate and linguistically complex as to render it effectively redundant without substantial qualification. Elkins has called for a moratorium on the term sublime and a redress of language in favor of new, direct terms (2009). This project asks if painting can facilitate this redress and provide these terms. Note (1): An enquiry that applies a necessarily heuristic approach to a project engaged with subjective, felt experience in painting characterized by and articulated through the primacy of gestural abstraction.

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Lagière, Anne. "La Thébaïde de Stace et le sublime." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040140.

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Ce travail vise à porter un nouvel éclairage sur la Thébaïde de Stace en recourant au Traité du Sublime. Celui-Ci constitue un instrument herméneutique contemporain des littératures néronienne et flavienne, libéré des projections de la pensée esthétique moderne, à même de préciser l’univers de l’épopée. Notre étude s’attache d’abord à définir la notion de sublime, telle que la présente le Pseudo-Longin. Elle analyse ensuite l’importance de la passion dans le Traité du Sublime comme dans la Thébaïde et découvre les liens qui unissent les deux oeuvres : une même conception de la création poétique, audacieuse et transgressive, un même attrait pour les élans passionnels, la même recherche d’une réception sur le mode du choc, mettant en jeu des sentiments de terreur et d’admiration. Le sublime se manifeste dans le ravissement du poète, des personnages, dans les représentations spectaculaires de l’horreur ou d’une nature bouleversée. Le Traité du Sublime se révèle alors un outil intéressant pour appréhender les interférences génériques à l’oeuvre dans la Thébaïde. Il met en lumière un tragique de la passion, qui se déploie à travers le thème de la tyrannie, qui entre en tension avec l’épique et, par là, complexifie les personnages, remet en question l’héroïsme traditionnel This work aims at shedding new light on Statius’ Thebaid by having recourse to On the Sublime, which constitutes a contemporary hermeneutic instrument for Neronian and Flavian literature, freed from the projections of modern aesthetic thought. First of all, I try to define the notion of the sublime as it is presented by Longinus. Then I try to analyse the importance of passion in On the Sublime as in the Thebaid and to reveal the links between the two works : the same conception of an audacious poetic creation, the same attraction to outbursts of passion, the same desire to create a shockwave on reception by bringing into play feelings of terror and admiration. The sublime is to be found in the ecstasy of the poet and the characters and in the spectacular portrayal of horror or of disordered nature. On the Sublime is therefore an interesting tool to understand the generic interferences at work in the Thebaid. It highlights the tragic in passion, which is to be found in the theme of tyranny and which gives rise to tension within the epic thus rendering the characters more complex and bringing into question traditional heroism

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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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Vella, Raphael. "The unpresentable : artistic biblioclasm and the sublime." Thesis, University of the Arts London, 2006. http://ualresearchonline.arts.ac.uk/7760/.

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This study investigates the destruction of books carried out by artists during the second half of the twentieth century and the early years of the twenty-first century. It proposes the term 'artistic biblioclasm' as a general category that groups these processes together, and distinguishes this category from works of art that also deal with the theme of the book but make use of other media (rather than real books). In my own practice, various biblioclastic processes are applied, documented and then discussed in the thesis. I analyse the aesthetic, political, religious and other implications of artistic biblioclasm in my work, with particular emphasis on the cultural (and Catholic) context in which the work was shown: the Mediterranean islands of Malta and Gozo. 'Part One' opens with a review of the literature related to the theoretical perspectives that inform the thesis. This is followed by the 'Practice Methodology', which identifies the methods used in my work and offers some preliminary reflections about the theoretical dimensions of these methods. 'Part Two' explores the historical background of artistic erasure in the twentieth century and develops a descriptive and contextual typology of biblioclastic practices, classifying them into four groups: book alterations, biblioclastic book-objects, formless books and dematerialised books. 'Part Three' advances Jean-François Lyotard's work about the sublime in aesthetics as a viable theoretical framework that firmly defines artistic biblioclasm as a postmodern (rather than modem) artistic phenomenon. This connection with Lyotard's work is made possible by comparing the formlessness of the sublime to the loss of the book's 'form' in biblioclastic processes and also by linking some relatively little-known essays by Lyotard that focus on biblioclasm or the book to other, better-known areas such as the sublime and postmodernism. 'Part Four' focuses on the political and religious dimensions of biblioclasm and the problem of representation. It distinguishes between politically repressive or fundamentalist forms of biblioclasm and artistic biblioclasm. Lyotard's notion of the 'unpresentable' - influenced by his reflections on Judaism and the Holocaust - is examined and linked to earlier discussions about the sublime and to the work of some artists described in 'Part Two'. Analogously, in my practice the Catholic idea of the book as an authoritative figure ('Magisterium') is elaborated and 'deconstructed' in the actual processes that make use of doctrinal texts. The research concludes by interpreting artistic biblioclasm as an attack on the closure of the book (with Jewish undertones) and a form of resistance to totalising political or religious forces. In my work, dogmatic interpretations of books and their 'truth' are related to the threatening possibility of violence in contemporary societies, and are ultimately shown to be self-destructive.

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Stokes, Christopher Richard. "Coleridge and the sublime language, subjectivity, aesthetics." Thesis, University of Sussex, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.488570.

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Working from sublimity's contested place in recent thought - critiqued by some as an outmoded desire for transcendence and yet invoked by others as an experience of finitude - this thesis traces types of sublimity in Coleridge's poetry. It contends that he was always drawn to strong, transcendent modes of the sublime, modes associated with the Romantic ideology.

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SILVEIRA, HARRISON. "SUBLIME AND MUSIC IN ADORNO S THOUGHT." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=29501@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO O presente texto propõe verificar o sublime e a música em Adorno. Para tanto, três objetivos centrais serão seguidos. O primeiro visa verificar o surgimento do sublime. De objeto de investigação filosófica do tratado Do Sublime atribuído à Longinus e a posterior tradução, por Boileau, avançaremos para a sua recepção e repercussão na Inglaterra oitocentista, especificamente, Burke. Em seguida, analisaremos o sublime em Kant, visando dialogar com as considerações adornianas a cerca do sublime, configurado pelo filósofo como enigma, e as obras de vanguardas artísticas, a Nova Música. O segundo objetivo debruça-se sobre a Nova Música, verificando sua contribuição para o entendimento do sublime em Adorno. Para tanto, analisaremos as possíveis ligações e desdobramentos presentes nesta nova proposta radical musical, denominada por Adorno, de esfera despadronizada, quando, comparadas à esfera de obras musicais, ditas, padronizadas. Formularemos a hipótese de que a Nova Música esteja imbricada, tanto com o sublime em Burke, notadamente, via expressionismo musical, bem como, com o sublime matemático kantiano, dada à incomensurabilidade de suas possibilidades composicionais advindas do dodecafonismo schonberguiano, para finalmente receber, em Adorno, o tratamento de enigma. O terceiro e último objetivo foca no fetichismo musical e o seu desdobramento em regressão auditiva, decorrência principal, nas artes musicais, da Indústria Cultural. Mediante tal análise, aventaremos a hipótese, de que a regressão auditiva, paradoxalmente aos sombrios prognósticos adornianos, descortinou também, os novos rumos para a música ocidental. Através da liberação das dissonâncias e do uso da série, advindas da mesma Segunda Escola de Viena, surgiram os movimentos de música concreta, eletrônica e eletroacústica, permitindo-se um novo tratamento musical para o ruído, transformando-o assim, no mais novo elemento composicional. As conclusões centralizam-se na questão principal da categoria estética artística musical, o sublime. Por meio de sua análise, interpretação e entendimento, permite-se uma aproximação ao tratamento dado por Adorno a certas obras musicais, sinalizadas pelo filósofo, como pertencentes ao âmbito do sublime musical. Esperamos contribuir, com esta pesquisa, para uma maior aproximação com o sublime e a crítica musical em Adorno. This dissertation focuses on Adorno s treatment of the music phenomenon under aesthetic s category of the sublime. To do so, we will follow three main goals. The first one deals with the debate of the sublime in Philosophy. Its beginning as an object of philosophical enquiry since Do Sublime Treaty, attributed to Longinus, appeared for the first time in history. It s enduring echos in France through its French translation by Boileau, as well its reception and repercussions in the eighteenthcentury England with Burke s Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beuatiful. Kant s sublime will be analyzed shortly afterwards, in order to deal with Adorno s considerations on the sublime and the avantgard movements. Our attention will be focused on the enigmatic element which was analyzed by Adorno in some artworks, especially those of the New Music stream. Our second goal is about the discussion of the Adornian concepts of New Music.Our aim here is to decide whether these concepts as presented by Adorno, can still be of any use to understand as well as to call music sublime. At the same time it will be analyzed the strong bounds and developments that can t be avoid to be grasped between this new kind of radical musical proposal so called by him as, the sphere of non standardized music, thus drawing a parallel with the standardized music sphere. This will lead us to hypothesize that New Music, as observed by Adorno, is deeply bound up with the Burke s ideas about the sublime, notably seen by means of the music compositions on the expressionism period, as well to Kant s mathematically sublime through the immeasurable possibilities of music compositions brought by the dodecaphonic and serial techniques. As a result, it will be seen by Adorno as a great enigma, a riddle, a puzzle, due to its mystery nature which never allows to be entirely signified. On our final goal we intend to examine the regression of listening as the main after effect of the Culture Industry on music by means of the Fetish-Character, which is directly responsible for a turnaround of artworks into commodities whose only fate will be to serve as goods, thus being consumed by the majority. Paradoxically Adorno s voice of doom about the regression of listening in our modern society can be hypothesized today as a new path for western music. The full usage of the noise which was the one of the mainly results of the dissonance s freedom promoted by the same Second Viennese School which Adorno was a zealous believer, a new tool for the contemporary music composition was devised. By turning the noises into a new compositional tool through the serialism technique, the post modern music has arrived. Our conclusions attempts to centralize around the main question of the aesthetic s category of the sublime in music. By its analysis, as well as its interpretation and its knowledgement, it can lead us the way to approach and elucidate Adorno s treatment of certain music artworks as belonging to the sublime realm. We truly hope to have provided with this research a reliable contribution to music critique not only those belonging to the realm of New Music but, to all the new music artworks, that follow its streams throughtout the XX century and beyond.

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Charrier, Claire. "Du sublime dans l’œuvre gravé de Rembrandt." Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100168/document.

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Très expérimentales, les gravures de Rembrandt ont suscité l’étonnement dès son époque. Les étudier à la lumière de la tradition du sublime aide à dégager la dynamique de la pensée du graveur, tout en offrant à cette tradition l’occasion de se renouveler. Ainsi notre étude confronte l’œuvre gravée de Rembrandt à trois conceptions du sublime. Le sublime poétique de Longin, qui incite le spectateur à cultiver ses dons à l’exemple des héros antiques. Le sublime chrétien comme lien entre l’abaissement du divin et l’élévation de l’homme. Et enfin le sublime du sentiment esthétique de Burke, qui explore l’expérience de la terreur provoquée par l’obscurité. Cette confrontation est utile pour comprendre la manière dont l’image réussit à communiquer la force des passions, en conquérant son autonomie par rapport au texte. Mais la quête spirituelle de Rembrandt, qui menace d’épuiser les possibilités de son médium, constitue une mise à l’épreuve de la notion de sublime. A l’image du divin qui s’est perdu dans le sensible, Rembrandt obscurcit extrêmement ses eaux-fortes, au risque de leur faire perdre toute force d’élévation, voire toute puissance d’évocation. Le sublime ne peut plus se penser que sur le mode du retrait, voire de la disparition. Le spectateur est incité à recueillir ses traces pour devenir témoin In his own day, Rembrandt’s etchings had aroused surprise in his contemporaries owing to their experimental quality. To study these works in the light of the philosophical tradition of the sublime helps to bring forth the dynamics of the artist’s thought while allowing this tradition to renew itself. Thus does our study confront Rembrandt’s etchings with three conceptions of the sublime: the poetic sublime of Longinus which urges one to cultivate one’s gifts, following the examples of the heroes of the ancient world; the Christian conception of the sublime, as a link between the descent of the divine and the spiritual elevation of man; and lastly, Burke’s aesthetic concept of the sublime, which explores the experience of terror produced by obscurity. This confrontation is useful in understanding the way in which a pictorial representation can succeed in communicating the force of passions and thereby in acquiring its autonomy from the written word. Yet Rembrandt’s spiritual quest, which threatens to exhaust the possibilities of his artistic medium, puts to the test the very notion of the sublime. Mirroring the loss of divinity that follows its descent into the flesh, Rembrandt darkens his etchings to the extreme, at the risk of them losing their uplifting and even their evocative power. As a result, the sublime can no more be perceived but in its very receding and at times total withdrawal. The viewer is moved to collecting its marks and becoming its witness

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Preston, Steven (Steven Joseph). "An approach to the sublime of death." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/57530.

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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 2010. This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections. Cataloged from student submitted PDF version of thesis. Includes bibliographical references (p. 141-144). Death is an unknown and it is final. This makes it sublime. The sublime as an aesthetic category is experienced emotionally as the moral certitude of having embraced the absolute. In that sense, the nervous system is capable of the exact same physiological responses in life. It is these responses to the sublime that I wish to explore as the basis for an architectural iconology with the hope that the iconography and the design will create an acute aesthetic response in an intelligent viewer. My aim has not been so much to design a cemetery, and much less a crematorium. I wanted to go beyond the banality of physical function and design an environment that would invite visitors to ponder on issues of death and life. Without death, no life is possible, and yet, if we consider our planet in a cosmic sense, the birth or the death of a human being on this speck of dust is irrelevant. However, since biblical times, we humans have confused earth with the cosmos and the end of things equivalent to the destruction of the planet. In that sense, life tends to deny death. My task then has been to create an environment that would foster thoughts of remembrance, and through remembrance, bring back to life, as it were, someone we have loved. I like the idea of people pondering uplifting thoughts there on a bright summer day and also being crushed by the awesome sublimity of contemplating the sea at the end of a dark walk on a dreary snowy winter day with razor-sharp snow burning their faces in a high wind. (cont.) As humans, death is a destination we all share, and there exists in architecture a special place devoted to the understanding and contemplation of this condition. These places are constructed and conceived for both the living and the dead. They are very public and yet intimately private and personal. They bridge the divide of existence, and become sacred spaces because they touch on the sublime of the absolute, but paradoxically, remind us as well of the fragility of life. by Steven Preston. M.Arch.

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Soares, Marcel Santiago. "O sublime ordinário: sublimação, elaboração e cotidiano." Pós-Graduação em Psicologia Social, 2013. https://ri.ufs.br/handle/riufs/5963.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior This study looks into how the engagement at some ordinary and everyday s business can be used as a support to a subject change. A new job, needlework, technology interest, gastronomy, sports, gardening, photography, regional dance, recycling, painting, decoration, many others could be used as an example. This is exactly why we avoided to exemplify what we meant by these activities, since each one of these could slip on a determinism that explained the change by particular characteristics of the activity. We do not wish to investigate the action, per se. Our hypothesis, written here in a simple way, it-s to investigate how these everyday s actions can be used as a support for a subject modification, in a psychoanalysis language this would be translated as a change of the drive circuit and on the investment ways. This is Freud s definition of sublimation s concept, which paradoxically is usually exemplified by exceptional figures and actions, as artist and scientists. Justified, then, the questions: who is able to sublimate? The sublimation is possible on every degree in life, even in an everyday and ordinary life? These are the questions that initiate our investigations. To walk through these concerns we divide our study in chapters to better approach our object. The first one aims to raise the sublimation s origins, in aesthetic philosophy s field and also in the daily context. Our second chapter aims to dislocate the sublimation reading from the talent universe, emphasizing its meaning while drive s destiny. The third chapter is dedicated to study the importance of Ego in the sublimatory process, as agent as beneficiary of its results. Our Forth and last chapter concentrates on two distinct and convergent questions: the first, to know if the elaboration, as a work of ego, has any relation to sublimation; the second, to present a reading of sublimation in three times: time to disconnect, time to elaborate, time to reinvest. It Concludes, along this lines, that a reading on sublimation dislocated from talent s dimension and, therefore, possible of been recognized daily and in the ordinary man. Este estudo debruça-se sobre como o engajamento em certos afazeres cotidianos e ordinários pode servir como suporte para a mudança subjetiva. Um novo trabalho, o curso de bordado, o interesse em tecnologia, a gastronomia, o esporte, a jardinagem, fotografia, quadrilha junina, reciclagem, pintura, decoração, muitos poderiam ser os exemplos. Exatamente por isso evitamos exemplificar do que tratamos por esses afazeres, posto que cada um deles pudesse escorregar em um determinismo que explicasse a mudança a partir das características próprias da atividade. Não desejamos investigar a ação, per se. Nossa hipótese, colocada aqui de forma simples, é investigar como essas ações cotidianas servem como suporte para uma modificação subjetiva, o que na linguagem psicanalítica seria traduzido como uma mudança no circuito pulsional e nos modos de investimento. Esta, por sua vez, é a definição que Freud dá ao conceito de sublimação, o qual, paradoxalmente, é usualmente exemplificado por figuras e ações excepcionais, como artistas e cientistas. Justificam-se, então, as perguntas: Quem é capaz de sublimar? A sublimação é possível em todos os planos da vida, até na ordinária e cotidiana? São essas questões que disparam nossas investigações. Para caminhar diante dessas inquietações dividimos nosso estudo em capítulos a fim de melhor abordar nosso objeto. O primeiro visa levantar as origens da sublimação, tanto no campo da filosofia estética como também no contexto cotidiano. Nosso segundo capítulo tem em vista deslocar a leitura da sublimação do universo do talento, realçando o sentido desta enquanto destino pulsional. O terceiro capítulo dedica-se a estudar a importância do Eu no processo sublimatório, tanto enquanto agente desta, quanto beneficiário dos seus resultados. Nosso quarto e último capítulo concentra duas questões distintas e convergentes: a primeira, a de saber se a elaboração, enquanto trabalho do Eu, tem alguma relação com a sublimação; a segunda, apresentar uma leitura da sublimação em três tempos: tempo de desligar, tempo de elaborar, tempo de reinvestir. Concluir-se-ia, deste modo, uma leitura da sublimação deslocada da dimensão do talento e, portanto, possível de ser reconhecida no cotidiano e no homem ordinário.

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Torres, Tatiane Milene. "Poética de almanaque: paidéia tecedora do sublime." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-14122012-091400/.

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Létude comparatif entre lAlmanaque Brasileiro Garnier, publié entre 1903 et 1914, et lAlmanach Hachette, édité entre 1894 et 1980, cherche corroborer lengendre anuel des cités idéales, Paris et Rio de Janeiro, par lacte poétique recupérateur du Beau, pour la tessiture du Sublime, dans le meilleur des mondes possibles. Cest la fabrication incessante de ce microcosme mystique-poétique qui permet aux lecteurs acquerir une vie protégée des problématiques modernes, puisque dans cette cloche en verre onirique ils subissent une thérapeutique des maux contractés dans la foule caotique environnante, puis guéris, puissent voir la vraie beauté du monde. Cest le rôle de tirer les échelles des yeux, de la Paidéia Poétique quotidienne, pour la conquête de lacuité de vision, qui permet la plainte du Laid symbolisé par les malheurs de la modernité, ce qui permet lédification de ce paradis terrestre pour lexpérience du Temps Sacré concernant la nouvelle Création. Cette recupération du principe du monde, par la Poiésis, traduit le véritable âge dor de la soi-disant Belle Époque brésilienne et française, dans laquelle les citoyens vivent un temps déternelle bonaventure, avec toute sorte dabondance et de jouissance, caractérisée par linfinité dalmanaquias pour leur ravissement à partir du Pays de Cocagne et de lEldorado. Cest labondance de nourriture poétique, servie sur la grande table de la Terre sans Maux dalmanach, qui agit sur le corps et lesprit comme tonique regénérateur de la plenitude perdue, laquelle symbolise linfini récupéré par lengendrement ininterrompu du Sublime dans les Républiques des délices de lEldorado, pas celui des Amériques, mais de tous les continents qui composent ce site merveilleux. O estudo comparativo entre o Almanaque Brasileiro Garnier, publicado entre 1903 e 1914, e o Almanach Hachette, que esteve em circulação entre 1894 e 1980, busca aferir o engendro anual das cidades ideais, Paris e Rio de Janeiro, por meio do ato poético resgatador do Belo, para tessitura do Sublime, no melhor dos mundos possíveis de almanaque. É a feitura incessante de tal microcosmo místico-poético que permite aos leitores uma vida resguardada das problemáticas modernas, posto que dentro de tal redoma onírica passam por um processo terapêutico de cura dos males contraídos na massa caótica circundante, para então, sãos, poderem enxergar a verdadeira beleza do mundo. É, pois, o papel de tirar as escamas dos olhos, da Paidéia Poética diária, para alcance da acuidade de visão, que possibilita a denúncia do Feio simbolizado pelas mazelas da modernidade, o que permite a edificação de tal empírio terrestre, para a vivência do Tempo Sagrado advindo da nova Criação. Tal resgate do princípio do mundo, pela Poiésis, traduz a verdadeira idade de ouro na chamada Belle Époque brasileira e francesa, onde seus cidadãos vivem um tempo de eterna boa ventura, com toda sorte de abundância e de regozijo, caracterizada pela infinidade de almanaquias para deleite proveniente do Pays de Cocagne e do Eldorado. É a fartura de alimento poético, servido periodicamente na grande mesa da Terra sem Males de almanaque, que age no corpo e no espírito como tônico resgatador da plenitude perdida, simbolizadora da infinitude reconquistada, pela tessitura ininterrupta do Sublime, nas Repúblicas das delícias do Eldorado, não das Américas, mas de todos os continentes que compõem tal sítio maravilhoso.

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Lagedrost, Elizabeth T. "Representational Shifts: Sublime Landscapes and American Culture." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243962750.

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McMahon, Cliff Getty. "The sublime in Rothko, Newman and Still." Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/11002.

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An important body of literature has accumulated (both primary and secondary sources) which necessitates that Rothko, Newman and Still be placed in the tradition of the sublime. In attempting this task, a background is established by a detailed summary of classical theory of the sublime in Longinus, Burke, Kant, and Nietzsche, followed by detailed summaries of major recent sublimist theory by Weiskel, Crowther, Lyotard, and Ferguson. Also, key ideas of Sartre and Jung are treated in order to round out the proper ideational context for a sublimicist analysis of these three painters. From this foundation, a working theory of the sublime is developed. Next, the painters' crucial theoretic statement are analysed for their relevance to the sublime, and their programs and specific works are characterized in relation to theory of the sublime, and in relation to their treatments in criticism. The last two chapters treat two crucial contexts in which Rothko, Newman and Still are situated: The historically accumulated American tradition of the sublime in art and literature; and the general European context of modernism and postmodernism. Throughout the study, it is argued that various kinds of transcendence validate a set of various major modes of the sublime: The ideational, religious, moral, Burkean-Gothic, Kantian, Nietzschean, romantic, existential, Jungian-mythic, ontological, noble, and the sublime of light/color, along with negatives modes such as the comic, the ironic, the counter, the mock, and the merely rhetorical. It is argued, finally, that sublimicism will continue to be attractive for conservative, moderate, and radical points of view, that theory of the sublime has on-going power and validity into the future, and that between positive and negative modes, the positive will probably continue to dominate.

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