Journal articles: 'Sublime in politic'

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Lee, Haiyan. "The Charisma of Power and the Military Sublime in Tiananmen Square." Journal of Asian Studies 70, no. 2 (May 2011): 397–424. http://dx.doi.org/10.1017/s0021911811000040.

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While a growing scholarship has shed light on the spatial transformations of Tiananmen Square and its environs, not enough attention has been paid to the sacralization of power through symbols, rituals, and mythologies that lend enduring legitimacy to the Chinese Communist Party and the socialist revolution it led. This article examines how the official iconography of Tiananmen Square constructs the charisma of power through what I call the “military sublime.” Using the 1985 filmThe Big Paradeas a primary example, I argue that the martyrology and pageantry of the People's Liberation Army (PLA) exemplify the dominant mode of symbolic investment of space which not only constitutes the nation as a militarized body politic but also frames the tradition of dissent associated with the Square, most notably the 1989 protest movement.

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Rosenberg, Tiina. "Sublime Politics." NORA - Nordic Journal of Feminist and Gender Research 19, no. 3 (September 2011): 210–12. http://dx.doi.org/10.1080/08038740.2011.593555.

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Hayon, Yohanes Wele. "Disabilitas dalam Teologi Katolik: Dari Liberalisme ke Politik Kasih." INKLUSI 6, no. 2 (October 27, 2019): 235. http://dx.doi.org/10.14421/ijds.060203.

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This article aims to re-question the relevance of Catholic political theology on the level of acceptance of people with disabilities. The author pointed out that the dominant ideology of liberalism, which separates the religious domain from politics, makes the discussion of disability limited to issues of equality. It missed the most sublime dimensions in the subject, namely recognition. So, how the political theology based on collective movement makes this lacking out? Referring to Jesus’ political action, the author argues that political involvement should presuppose a dimension of love that embraces all particulars. It should be based on agency strategy, without being trapped in claims of morality and binary opposition logic. Furthermore, the concept of disability is understood as a universal constitutive dimension that creates limitations as well as calls to be involved. This awareness is the basis for managing collective vulnerability as fellow sinful, unfixed, lacking, and not autonomous subjects.[Artikel ini bertujuan mempertanyakan kembali relevansi teologi politik agama Katolik dalam hal penerimaan terhadap kaum difabel. Di dalam artikel ini, penulis menunjukkan bahwa dominannya ideologi liberalisme yang memisahkan domain agama dari politik menyebabkan diskusi mengenai disabilitas dari perspektif teologi politik terkunci pada kesetaraan dan tidak memerhatikan dimensi paling sublim dalam diri subjek yakni pengakuan. Mengacu pada gerakan politik Yesus, penulis berargumen bahwa keterlibatan politik hendaknya mengandaikan dimensi kasih yang merangkul semua partikular tanpa terjebak pada klaim moralitas dan logika oposisi biner. Dengan menggunakan beberapa terma kunci dari para pemikir post-marxisme, post-strukturalisme dan psikoanalisis, konsep disabilitas dipahami sebagai dimensi konstitutif universal yang menciptakan keterbatasan sekaligus panggilan untuk terlibat. Kesadaran inilah yang menjadi landasan untuk mengelola kerentanan secara kolektif sebagai sesama subjek yang ‘berdosa’, ‘unfixed’, ‘lack’, dan tidak otonom.]

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Dikeç, Mustafa. "Politics is Sublime." Environment and Planning D: Society and Space 30, no. 2 (January 2012): 262–79. http://dx.doi.org/10.1068/d12610.

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Frank, Jason. "Aesthetic Democracy: Walt Whitman and the Poetry of the People." Review of Politics 69, no. 3 (June 2007): 402–30. http://dx.doi.org/10.1017/s0034670507000745.

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This essay argues for Walt Whitman's significance to contemporary democratic theory, neither as a theorist of moral or aesthetic individualism nor as a theorist of communitarian nationalism, but as a theorist of the democratic sublime. Whitman's account of “aesthetic democracy” emphasizes the affective and autopoetic dimensions of political life. For Whitman, popular attachment to democracy requires an aesthetic component, and he aimed to enact the required reconfiguration of popular sensibility through a poetic depiction of the people as themselves a sublimely poetic, world-making power. Through his poetic translation of the vox populi, Whitman hoped to engender a robustly transformative democratic politics. He found the resources for political regeneration in the poetics of everyday citizenship, in the democratic potentials of ordinary life.

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Wardana, Sarwo Edi. "CITRA SEKSUALITAS DAN POLITIK DALAM PUISI MBELING KARYA REMY SYLADO: KAJIAN EKLEKTIK." Sintesis 16, no. 2 (October 13, 2022): 125–39. http://dx.doi.org/10.24071/sin.v16i2.4852.

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ABSTRAK Artikel ini membahas tentang citra seksualitas dan politik di Indonesia dalam puisi mbeling pada antologi Puisi Mbeling karya Remy Sylado dengan pendekatan eklektik, yaitu pendekatan yang menggabungkan dua pendekatan. Dalam penelitian ini, dua pendekatan yang dipilih adalah ekspresivisme dan pragmatik. Dari pendekatan ekspresivisme menggunakan teori Keluhuram perspektif Longinus melalui lima sumber keluhuran dan dari pendekatan pragmatik menggunakan teori Efek Relief perspektif Simon O. Lesser yang memanfaatkan terminologi psikoanalisis. Hasil penelitian ini menyimpulkan dua pendekatam yang digunakan, secara umum menunjukkan bahwa citra seksualitas ditampilkan sangat sempit dan terfokus pada kaum heteroseksual, marginalisasi kaum homoseksual (LGBT+), dan citra perempuan dengan berbagai kondisi yang dianggap tidak ideal; sedangkan citra politik sebagian besar menunjukkan rezim Orde Baru (Orba) yang korup, menciptakan trust issue, ilusif, dan hipokrit. Kata Kunci: puisi mbeling, citra, seksualitas, politik, eklektik ABSTRACT This paper discussed the image of sexuality and politics in Indonesia in the mbeling poems on Remy Sylado's anthology Puisi Mbeling with an eclectic approach, that's an approach that combines two approaches. In this study, the two approaches were chosen expressivism and pragmatics. The expressivism approach was chosen with Longinus' theory of sublime perspective through five sources of sublime and the selection a pragmatic approach was chosen with Simon O. Lesser's perspective relief effect theory which utilizes psychoanalytic terminology. The results of this study are concluded from two perspectives used which in general shows that the image of sexuality displayed is very narrow in focus on heterosexuals, marginalizes homosexuals (LGBT+), and women with various conditions that are considered not ideal, while the political image is broadly most of them show the corrupt Orde Baru (Orba) regime, creating trust issues, fraud, and hypocrisy.Keywords: mbeling poetry, image, sexuality, politics, eclectic

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Badarevski, Bobi, and Xhabir Ahmeti. "Кон Bonnie Mann, Women’s Liberation and the Sublime: Feminism, Postmodernism, Environment." Identities: Journal for Politics, Gender and Culture 6, no. 1 (January 1, 2007): 209–14. http://dx.doi.org/10.51151/identities.v6i1.206.

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Author(s): Bobi Badarevski | Боби Бадаревски Title (Macedonian): Кон Bonnie Mann, Women’s Liberation and the Sublime: Feminism, Postmodernism, Environment Title (Albanian): Për Bonnie Mann, Women’s Liberation and the Sublime: Feminism, Postmodernism, Environment Translated by (Macedonian to Albanian): Xhabir Ahmeti Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 6, No. 1 (Winter 2007) Publisher: Research Center in Gender Studies - Skopje and Euro-Balkan Institute Page Range: 209-214 Page Count: 6 Citation (Macedonian): Боби Бадаревски, „Кон Bonnie Mann, Women’s Liberation and the Sublime: Feminism, Postmodernism, Environment“, Идентитети: списание за политика, род и култура, т. 6, бр. 1 (зима 2007): 209-214. Citation (Albanian): Bobi Badarevski, „Për Bonnie Mann, Women’s Liberation and the Sublime: Feminism, Postmodernism, Environment“, përkthim nga Maqedonishtja Xhabir Ahmeti, Identities: Journal for Politics, Gender and Culture, Vol. 6, No. 1 (Winter 2007): 209-214.

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Giles, Jana María. "Can the Sublime Be Postcolonial? Aesthetics, Politics, and Environment in Amitav Ghosh’sThe Hungry Tide." Cambridge Journal of Postcolonial Literary Inquiry 1, no. 2 (July 1, 2014): 223–42. http://dx.doi.org/10.1017/pli.2014.18.

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AbstractSet in the vast Sundarban mangrove forest of Bangladesh in the shadow of the colonial past and the 1979 Morichjhapi massacre,The Hungry Tidetraces the transformation of three metropolitan characters from disengaged spectators to invested insiders. The novel may be read as elaborating the theories of Jean-François Lyotard, whose revision of the sublime as the “differend” in both aesthetics and politics provides a compelling context for exploring the postcolonial sublime. Suggesting ecocentric ways of engaging the world that loosen the bonds of the colonial past and critiquing the failure of the postcolonial state and the new cosmopolitanism, Ghosh rewrites aesthetics as interconnected with ethics and politics. In his novel, the postcolonial sublime no longer reifies metaphysical or anthropocentric pure reason, but instead enables discovery of our interpenetration with the natural world, spurring us to witnessing and activism in partnership with those who have been rendered silent and invisible.

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Edwards, Steve. "Apocalyptic Sublime: On the Brighton Photo-Biennial." Historical Materialism 17, no. 2 (2009): 84–102. http://dx.doi.org/10.1163/156920609x436135.

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AbstractBased on an account of the Brighton Photo-Biennial Memory of Fire: The War of Images and Images of War, curated by Julian Stallabrass in late 2008, this essay considers the photographic coverage of the recent imperialist interventions in the Middle East. Taking its cue from Stallabrass's event, it reflects on the decline of documentary and photojournalism since the Vietnam War and the current attenuated politics of the media. It argues that the problem of the sublime extends beyond the current genre of 'aftermath'-photography and asks what might constitute a more cognitively adequate politics of the image.

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Drolet, Michael. "The Wild and the Sublime: Lyotard's Post-Modern Politics." Political Studies 42, no. 2 (June 1994): 259–73. http://dx.doi.org/10.1111/j.1467-9248.1994.tb01911.x.

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This paper examines the thought of Jean-François Lyotard in relation to the problems of justice and the constitution of a post-modern politics. It argues that Lyotard is highly influenced by Kant's aesthetics and specifically by the idea of indeterminate judgement in the formulation of a conception of justice that, in an age of social variegation and fragmentation, underlies a politics which strives to promote different ways of looking at, and living in, the world. The text concludes that Lyotard's conception of justice and its resultant politics are founded upon a skewed reading of Kant's work such that claims of truth and morality are separated from those of judgement. The result is a politics marked by radical individualism which poses the threat of social atomization.

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Hart, Henry. "Robert Lowell: The Politics of the Sublime." Twentieth Century Literature 37, no. 1 (1991): 105. http://dx.doi.org/10.2307/441908.

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Cornell, Drucilla. "The Sublime in Feminist Politics and Ethics." Peace Review 14, no. 2 (June 2002): 141–47. http://dx.doi.org/10.1080/10402650220140157.

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Byrne, William F. "Burke's Higher Romanticism: Politics and the Sublime." Humanitas 19, no. 1 (2006): 14–34. http://dx.doi.org/10.5840/humanitas2006191/22.

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Langlands, Rebecca. "Latin Literature." Greece and Rome 62, no. 1 (March 25, 2015): 97–106. http://dx.doi.org/10.1017/s001738351400028x.

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This time last year my review concluded with the observation that the future for the study of Latin literature is fundamentally interdisciplinary, and that we should proceed in close dialogue with social historians and art historians. In the intervening period, two books from a new generation of scholars have been published which remind us of the existence of an alternative tide that is pushing back against such culturally embedded criticism, and urging us to turn anew towards the aesthetic. The very titles of these works, with their references to ‘The Sublime’ and ‘Poetic Autonomy’ are redolent of an earlier age in their grandeur and abstraction, and in their confident trans-historicism. Both monographs, in different ways, are seeking to find a new means of grounding literary criticism in reaction to the disempowerment and relativism which is perceived to be the legacy of postmodernism. In their introductions, both bring back to centre stage theoretical controversies that were a prominent feature of scholarship in the 1980s and 1990s (their dynamics acutely observed by Don Fowler in his own Greece & Rome subject reviews of the period) but which have largely faded into the background; the new generation of Latinists tend to have absorbed insights of New Historicism and postmodernism without feeling the need either to defend their importance or to reflect upon their limitations. Henry Day, in his study of the sublime in Lucan's Bellum civile, explicitly responds to the challenges issued by Charles Martindale, who has, of course, continued (in his own words) to wage ‘war against the determination of classicists to ground their discipline in “history”’. Day answers Martindale's call for the development of some new form of aesthetic criticism, where hermeneutics and the search for meaning are replaced with (or, better, complemented by) experiential analysis; his way forward is to modify Martindale's pure aesthetics, since he expresses doubt that beauty can be wholly free of ideology, or that aesthetics can be entirely liberated from history, context, and politics. Reassuringly (for the novices among us), Day begins by admitting that the question ‘What is the sublime?’ is a ‘perplexing’ one, and he starts with the definition of it as ‘a particular kind of subjective experience…in which we encounter an object that exceeds our everyday categories of comprehension’ (30). What do they have in common, then, the versions of the sublime, ancient and modern, outlined in Chapter 1: the revelatory knowledge afforded to Lucretius through his grasp of atomism, the transcendent power of great literature for Longinus, and the powerful emotion engendered in the Romantics by the sight of impressive natural phenomena such as a mountain range or a thunderstorm? One of the key ideas to emerge from this discussion – crucial to the rest of the book – is that the sublime is fundamentally about power, and especially the transference of power from the object of contemplation to its subject. The sublime is associated with violence, trauma, and subjugation, as it rips away from us the ground on which we thought we stood; yet it does not need to be complicit with the forces of oppression but can also work for resistance and retaliation. This dynamic of competing sublimes of subjugation and liberation will then help us, throughout the following chapters, to transcend the nihilism/engagement dichotomy that has polarized scholarship on Lucan in recent decades. In turn, Lucan's deployment of the sublime uses it to collapse the opposition between liberation and oppression, and thus the Bellum civile makes its own contribution to the history of the sublime. This is an impressive monograph, much more productively engaged with the details of Lucan's poem than this summary is able to convey; it brought me to a new appreciation of the concept of the sublime, and a new sense of excitement about Lucan's epic poem and its place in the Western tradition.

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Jacobs, Tom. "The Banal and Sublime Politics of the Everyday." International Journal of Critical Cultural Studies 11, no. 2 (2014): 1–11. http://dx.doi.org/10.18848/2327-0055/cgp/v11i02/43693.

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Readings, B. "Sublime Politics: The End of the Party Line." Modern Language Quarterly 53, no. 4 (January 1, 1992): 409–25. http://dx.doi.org/10.1215/00267929-53-4-409.

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Park, Chankil. "Wordsworth’s ‘Sublime’ Republic: the Politics of Swiss Myth." Nineteenth Century Literature In English 27, no. 1 (March 31, 2023): 43–85. http://dx.doi.org/10.24152/ncle.2023.3.27.1.43.

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Burdman, Javier. "Lyotard and Democratic Aesthetics: The Sublime, the Avant-Garde, and the Unpresentable." Journal of Social and Political Philosophy 3, no. 1 (February 2024): 37–51. http://dx.doi.org/10.3366/jspp.2024.0071.

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In recent years, democratic theorists have inquired into the aesthetic dimension of contemporary politics. Influenced by Hannah Arendt and Jacques Rancière, these scholars claim that there is an analogy between democratic politics and aesthetic experiences, since both involve the confrontation of an indeterminacy that cannot be overcome by means of rational argumentation. Contributing to this perspective, but challenging some of Rancière’s insights, this article shows the importance of Jean-François Lyotard’s writings on aesthetics for understanding what I call ‘democratic aesthetics’. This aesthetics, I argue, consists in works of art that bring representation to its limits, thus arousing an experience of the unpresentable. Influenced by Immanuel Kant’s analysis of the sublime, Lyotard claims that avant-garde art, by disrupting the rules of representational art, put representation as such into question. This experience of the unpresentable contributes to cultivating a readiness to listening to voices that are not yet heard, because they lack a discourse by which to express themselves. Given that politics in postmodernity, following Lyotard, consists in shifting the dividing line between the sayable and the unsayable, avant-garde art is conductive to a postmodern politics – which, I argue, is analogous to democratic politics.

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Tenezakis, Xenophon. "Sublime catastrophe." Esprit Janvir-Févrir, no. 1 (2020): 192. http://dx.doi.org/10.3917/espri.2001.0192.

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EHRLICH, JOSHUA. "EMPIRE AND ENLIGHTENMENT IN THREE LETTERS FROM SIR WILLIAM JONES TO GOVERNOR-GENERAL JOHN MACPHERSON." Historical Journal 62, no. 2 (January 28, 2019): 541–51. http://dx.doi.org/10.1017/s0018246x1800050x.

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AbstractThese newly discovered letters help to reconstruct the close association between two seemingly disparate eighteenth-century Britons in India. Moreover, they suggest that a fixation on clashes of ‘cultural attitudes’ has distorted modern assessments of the politics of scholarly patronage in that era. The long-lauded William Jones and the long-dismissed John Macpherson were not so different after all. The views of each ranged from the sublime heights of Enlightened philosophy to the grubby depths of imperial politics.

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Burdman, Javier. "Universality without consensus: Jean-François Lyotard on politics in postmodernity." Philosophy & Social Criticism 46, no. 3 (June 13, 2019): 302–22. http://dx.doi.org/10.1177/0191453719854215.

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Lyotard’s diagnosis of a ‘postmodern condition’ has been repeatedly interpreted as a disavowal of the universal aspiration of political action and judgment. This article challenges this interpretation by showing that postmodernity involves an attempt to reconsider universality in such a way that it involves dissensus rather than consensus. I proceed by reconstructing Lyotard’s critique of the idea of consensus as a ground of political action and judgment, which in his view is based on a certain model of production of scientific knowledge. Then, I analyse Lyotard’s turn to Kant’s judgment of the sublime as an alternative to a consensus-based conception of universal judgments. In the judgment of the sublime, universality stems from the disagreement between the faculties, which arouses respect for universal ideas. Analogously, political judgments stem from the disagreement between heterogeneous discourses, which produces a universal call to invent new languages that make communication possible.

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Moskalewicz, Marcin. "Sublime experience and politics: Interview with Professor Frank Ankersmit." Rethinking History 11, no. 2 (April 8, 2007): 251–74. http://dx.doi.org/10.1080/13642520701270443.

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Callahan, William A. "The politics of walls: Barriers, flows, and the sublime." Review of International Studies 44, no. 3 (March 16, 2018): 456–81. http://dx.doi.org/10.1017/s0260210517000638.

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AbstractAs Donald Trump’s presidential campaign showed, walls are a hot topic. While ‘globalisation’, with its free flow of capital and goods, characterised world politics after the end of the Cold War, the twenty-first century has witnessed a reassertion of cultural, legal, and physical barriers. It is common to criticise such post-Cold War walls, especially the US-Mexico Barrier and Israel’s West Bank Barrier, as ineffective and immoral. This article problematises such critical discourse by using unlikely juxtapositions (the Great Wall of China) and new conceptual frameworks (gaps, critical aesthetics) to explore: (1) how walls can be a rational security policy; (2) how they are not simply barriers, but can be complex sites of flows; and (3) how walls are not simply texts waiting to be decoded: they are also sites of non-narrative affective experience that can even excite the sublime. This critical juxtaposition of walls first explores what they can tell us about the politics of borders, identity, and foreign policy, and then considers how walls, as concrete visual artefacts, can be examples not simply of ideology, but also of affect. The article aims to understand walls in a different register as active embodiments of political debate – and of political resistance.

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Wright, Julia, and Luke Gibbons. "Edmund Burke and Ireland: Aesthetics, Politics, and the Colonial Sublime." Canadian Journal of Irish Studies 30, no. 2 (2004): 76. http://dx.doi.org/10.2307/25515540.

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Myers, Victoria, and Luke Gibbons. "Edmund Burke and Ireland: Aesthetics, Politics, and the Colonial Sublime." Studies in Romanticism 44, no. 4 (2005): 633. http://dx.doi.org/10.2307/25602024.

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Fulford, Tim. "The Politics of the Sublime: Colleridge and Wordsworth in Germany." Modern Language Review 91, no. 4 (October 1996): 817. http://dx.doi.org/10.2307/3733510.

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Das, Suchismita. "The Patagonian Sublime: The Green Economy and Post-Neoliberal Politics." Conservation and Society 17, no. 3 (2019): 312. http://dx.doi.org/10.4103/cs.cs_19_12.

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Gibbons, Luke. "Topographies of Terror: Killarney and the Politics of the Sublime." South Atlantic Quarterly 95, no. 1 (January 1, 1996): 23–44. http://dx.doi.org/10.1215/00382876-95-1-23.

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Pristovšek, Jovita. "Sublime, Race, Racialization: Formalisation, Necessity, Contingency." AM Journal of Art and Media Studies, no. 14 (October 15, 2017): 45. http://dx.doi.org/10.25038/am.v0i14.202.

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If we speak about the sublimity of financial markets nowadays, this is mostly because we can already gaze into the contemporary version of ruins of (ambiguous) crises of capitalism and crisis politics, that left behind themselves desolated (social) landscapes, in which the absence of the human and of labor (read: gazing into the posthuman and at the emancipation within nonhuman terrain) once again testifies to a kind of sublimity. And from the historical point of view the revitalization of the discourse of (Cassius Longinus) sublime is situated precisely into a genealogy of treatises drawing the border between human and nonhuman, between society and nature. Thus, the sublime could only rise over not (yet) cultivated nature (while sovereignty could only rise over the cultivated one). Following from Longinus' most efficient sublime effect, when it functions as a hidden figure of speech, my field of interest will be predominantly a genealogy of race within the regime of aesthetics, from Edmund Burke's and Immanuel Kant's conceptualizations of aesthetics of the sublime, up until recent debates within contemporary aesthetics about subject-less experience and experience-less subject. This genealogy will serve as a display of procedure by which and since then the content (unrepresentable, race, terror) could be represented only in a certain way (as necessity), which led to a kind of asceticism (i.e. to formalism and immaterial), even more, to a return to objectnessless, which once again testifies to an encounter with the figure of silence, and with contingency. Article received: June 5, 2017; Article accepted: June 16, 2017; Published online: October 15, 2017; Original scholarly paperHow to cite this article: Pristovšek, Jovita. "Sublime, Race, Racialization: Formalization, Necessity, Contingency." AM Journal of Art and Media Studies 14 (2017): 45-56. doi: 10.25038/am.v0i14.202

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Stefaniak, Alexander. "Robert Schumann, Serious Virtuosity, and the Rhetoric of the Sublime." Journal of Musicology 33, no. 4 (2016): 433–82. http://dx.doi.org/10.1525/jm.2016.33.4.433.

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In several essays from the first half of the nineteenth century, Robert Schumann and other music critics used the rhetoric of the sublime when describing select, unconventionally intense virtuosic showpieces and performances, evoking this category’s associations with overpowering, even fearsome experiences and heroic human qualities. These writings formed one strand of a larger discourse in which musicians and critics attempted to describe and identify instances of virtuosity that supposedly rejected superficiality and aimed at serious aesthetic values: in the nineteenth-century imagination, the sublime abnegated mere sensuous pleasure; inspired a mixture of attraction, admiration, and trepidation; and implied both masculinity and intellectual cultivation. It offered a framework for self-consciously elevating virtuosity rooted in the sheer intensity and, in some cases, perceived inaccessibility of particular works and performances. Schumann extended the mantle of sublimity to Liszt during the virtuoso’s 1840 Leipzig and Dresden concerts. Critics described three of Schumann’s own 1830s piano showpieces using the rhetoric of the sublime, comparing the finale of the Concert sans orchestre, Op. 14, to violent forces of nature to illustrate the way its virtuosic passagework disrupts and engulfs lyrical themes within an anomalous formal structure. They also linked the Toccata, Op. 7, and Etudes symphoniques, Op. 13, to Beethoven, hinting at the ways in which Schumann alluded to or modeled these showpieces on Beethoven symphonies. These episodes in Schumann’s career broaden our understanding of the contexts in which nineteenth-century writers on music evoked the sublime, showing how they described this quality not only in symphonies and large choral works but also in solo performances and showpieces. They illuminate the politics of the sublime, revealing its significance for nineteenth-century thinking about the cultural prestige that particular musical works and performances could attain.

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Heymans, Peter. "Eating Girls." Humanimalia 3, no. 1 (September 17, 2011): 1–30. http://dx.doi.org/10.52537/humanimalia.10056.

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This article argues that Deleuze and Guattari’s concept of becoming-animal is aesthetically as well as structurally related to the discourse of the sublime. It investigates the species politics of both concepts and illustrates their ecocritical potential with an analysis of William Blake’s Lyca poems, “The Little Girl Lost” and “The Little Girl Found,” both published in his Songs of Innocence and of Experience (1794).

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Peritz, Jessica Gabriel. "The Female Sublime: Domesticating Luigia Todi’s Voice." Journal of the American Musicological Society 74, no. 2 (2021): 235–88. http://dx.doi.org/10.1525/jams.2021.74.2.235.

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Abstract This article delves into the puzzling reception of opera singer Luigia Todi (1753–1833) in order to explore how the traces left by pre-phonographic voices contain long-forgotten cultural histories. Operagoers in 1790s Venice claimed that Todi’s moral qualities allowed her to overcome her “vocal defects,” and, in turn, taught her listeners to become good citizens. Hearing vocal difficulties as a manifestation of interiority, rather than as poor training, marked a significant departure from what were then the predominant aesthetics of operatic voice. In attempting to smooth over this gap, listeners pieced together narratives about Todi’s subjectivity based on the unstable, fragmented sounds of her voice. This article argues that such remediations of Todi’s singing were subtended by two seemingly irreconcilable ontologies of female voice, one of them rooted in ancient myths of sublime song and the other born of Enlightenment ideologies of domesticity. I thus read inscriptions of Todi’s voice through a network of late eighteenth-century Italian cultural anxieties, drawing on literary reimaginings of Sappho, debates over the nature of musical skill, discourses on women’s education, and more. By interrogating the narratives about one woman’s unusual voice, I offer a new origin story for still resonant assumptions about the relationships between gender and disability, politics and domestic labor, and, fundamentally, bodies and voices.

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Ball. "Was “1968” Sublime?" Cultural Critique 103 (2019): 19. http://dx.doi.org/10.5749/culturalcritique.103.2019.0019.

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Battersby, Christine. "Terror, terrorism and the sublime: Rethinking the sublime after 1789 and 2001." Postcolonial Studies 6, no. 1 (April 2003): 67–89. http://dx.doi.org/10.1080/13688790308118.

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Mitchell, L. G. "Review: Edmund Burke and Ireland: Aesthetics, Politics and the Colonial Sublime." Notes and Queries 51, no. 4 (December 1, 2004): 450–51. http://dx.doi.org/10.1093/nq/51.4.450.

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Mitchell, L. G. "Review: Edmund Burke and Ireland: Aesthetics, Politics and the Colonial Sublime." Notes and Queries 51, no. 4 (December 1, 2004): 450–51. http://dx.doi.org/10.1093/nq/510450.

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Fjelkestam, Kristina. "En-Gendering the Sublime: Aesthetics and Politics in the Eighteenth Century." NORA - Nordic Journal of Feminist and Gender Research 22, no. 1 (January 2, 2014): 20–32. http://dx.doi.org/10.1080/08038740.2013.860190.

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Ellison, Julie. "Redoubled Feeling: Politics, Sentiment, and the Sublime in Williams and Wollstonecraft." Studies in Eighteenth Century Culture 20, no. 1 (1991): 197–215. http://dx.doi.org/10.1353/sec.2010.0088.

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Zhang, Chunjie. "Garden Empire or the Sublime Politics of the Chinese-Gothic Style." Goethe Yearbook 25, no. 1 (2018): 77–96. http://dx.doi.org/10.1353/gyr.2018.0004.

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Griffin, Michael J. "Edmund Burke and Ireland: Aesthetics, Politics, and the Colonial Sublime (review)." New Hibernia Review 8, no. 1 (2004): 150–53. http://dx.doi.org/10.1353/nhr.2004.0021.

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Borushko, Matthew C. "The Politics of Subreption: Resisting the Sublime in Shelley’s “Mont Blanc”." Studies in Romanticism 52, no. 2 (2013): 225–52. http://dx.doi.org/10.1353/srm.2013.0016.

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O'Gorman, Ned. "The Political Sublime: An Oxymoron." Millennium: Journal of International Studies 34, no. 3 (August 2006): 889–915. http://dx.doi.org/10.1177/03058298060340030301.

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Lynn, Michael R. "Reclaiming wonder: After the sublime." Contemporary Political Theory 19, S2 (December 6, 2018): 138–40. http://dx.doi.org/10.1057/s41296-018-00297-6.

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Beilharz, Peter. "David Roberts meets the switchman: A footnote to the total work of art in European modernism." Thesis Eleven 152, no. 1 (May 14, 2019): 69–75. http://dx.doi.org/10.1177/0725513619852681.

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Abstract:

The scope of David Roberts’ book on the Total Work of Art is daunting. It stretches from the French Revolution through to the modernist avant-garde and its dissolution in totalitarianism. If Wagner is its chief leader and artistic animator, it also echoes back to Robespierre, Napoleon and Saint-Simon, and through at least to Bolshevism and Futurism, Stalinism and Italian Fascism. The total work of art totalizes the world of the artwork, but it also adds in the politics of the sublime, turns politics into art and negates both as independent spheres of existence at the same time. In this piece I offer some observations on the thinking of a key switchman in this story: Leon Trotsky.

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Alchon, Guy. "Policy History and the Sublime Immodesty of the Middle-Aged Professor." Journal of Policy History 9, no. 3 (July 1997): 358–74. http://dx.doi.org/10.1017/s0898030600006060.

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Abstract:

The idea of policy history arises from an awareness of“something missing.” In the view of some social scientists, politics and public policy too often have been treated ahistorically by their disciplines, with evidence subordinated to theory. For some historians, the apparent waning of disciplinary interest in political history has been similarly distorting. Because of these things, social scientists, political historians, and more than a few social historians increasingly function as “policy historians,”as scholars especially alive to the vagaries and contingency of public policy and its history.

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Basile. "Kant's Parasite: Sublime Biodeconstruction." CR: The New Centennial Review 19, no. 3 (2019): 173. http://dx.doi.org/10.14321/crnewcentrevi.19.3.0173.

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MacDonald, F. "St Kilda and the sublime." Ecumene 8, no. 2 (April 1, 2001): 151–74. http://dx.doi.org/10.1191/096746001701556968.

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Kearney, Richard. "Terror, philosophy and the sublime." Philosophy & Social Criticism 29, no. 1 (January 2003): 23–51. http://dx.doi.org/10.1177/0191453703029001831.

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MacDonald, Fraser. "St Kilda and the Sublime." Ecumene 8, no. 2 (April 2001): 151–74. http://dx.doi.org/10.1177/096746080100800202.

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Lacoue-Labarthe, Philippe, and David Kuchta. "Sublime Truth (Part 1)." Cultural Critique, no. 18 (1991): 5. http://dx.doi.org/10.2307/1354093.

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Journal articles on the topic 'Sublime in politic'

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