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Journal articles on the topic 'SUBLIME'

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Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Calleja, Marianela. "Sublime y neo sublimes." Boletín de Estética, no. 57 (December 20, 2021): 83–93. http://dx.doi.org/10.36446/be.2021.57.271.

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La teoría clásica acerca del sentimiento de lo sublime lo revela como una categoría crucial de la estética en sus orígenes. En estas notas se propone enfatizar su nuevo rol en la estética de los siglos xx y xxi, énfasis que precisamente nos lleva a cuestionar desarrollos como los de Robert Doran en su reciente obra, La teoría de lo sublime. De Longino a Kant (2021), que, aunque se enmarquen en la historia intelectual del concepto, en su lectura final tienden a mantener posicionamientos que han devenido obsoletos.

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2

Rodrigues Júnior, Edson José. "O sublime e a fome." Opiniães, no. 23 (August 3, 2023): 247–66. http://dx.doi.org/10.11606/issn.2525-8133.opiniaes.2023.215578.

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O presente trabalho tem por objetivo investigar a manifestação do conceito de sublime – em suas várias facetas – em A fome: cenas da seca no Ceará (1890), romance de estreia do naturalista cearense Rodolfo Teófilo (1853 – 1932). Partindo da hipótese de que várias teorias do sublime se mesclam na prosa de Teófilo, traçamos, primeiramente, uma breve história do sublime enquanto conceito nos campos da estética e da crítica de arte para arcabouçar a análise da obra; para tanto, discutimos as contribuições de Longino (1996), Burke (1993), Kant (1995) e Schiller (2011) para a formação e a consolidação do conceito de sublime. A partir da análise literária, concluímos que o efeito estético arrebatador do sublime é a pedra de toque de A fome. Os sublimes dinâmico e matemático kantiano mesclam-se ao assombro burkeano e ao sublime patético schilleriano, resultando numa amálgama sui generis que reveste de grandeza e tragicidade o tormento dos sertanejos assolados pela seca mais devastadora da história nordestina.

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3

Fonseca Lino, Sulamita. "O sublime e a pintura: entre a sensação no tempo e a destruição da beleza." Viso: Cadernos de estética aplicada 15, no. 28 (June 28, 2021): 53–78. http://dx.doi.org/10.22409/1981-4062/v28i/399.

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A pintura de Barnett Newman Vir heroïcus sublimis (1950) e seu texto The Sublime is Now (1950) foram referências para o debate sobre o sublime e pintura em autores como Lyotard, Danto e Saint Girons. Além disso, o pintor destaca sua leitura da obra de Burke. Este trabalho pretende analisar, a partir do encontro de todas essas referências, como se deu a aproximação da pintura com o sublime no âmbito da filosofia.

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4

Holcombe, Cassandra. "The Horror of Serenity." Journal of Anime and Manga Studies 4 (December 3, 2023): 31–60. http://dx.doi.org/10.21900/j.jams.v4.1198.

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The sublime is a common subject in European literary studies, particularly in Victorian and Romantic period literary scholarship. The Greek writer Longinus proposed the concept in the 1st century in On the Sublime (first printed in 1554), and Edward Burke later popularized it in his work A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). The sublime is less discussed in anime studies due to its European origins, but it has a robust history in Japanese literature and philosophy. Recently, scholars have begun discussing its presence in anime. This paper examines European and Japanese definitions of the sublime and then applies the European Romantic definition to Psycho-Pass. Psycho-Pass’s focus on horror, self-knowledge, and European philosophy makes it an ideal subject for examining the sublime in anime. Rikako Oryo is a schoolgirl who murders her classmates and is hunted by the protagonists in one of the show’s side arcs. Her art emphasizes how the sublime's "horror" element can stimulate critical thought and concurs with the Kierkegaardian theory of the sublime. The primary antagonist, Shogo Makishima, represents the more transcendent aspects of the sublime and its role in self-knowledge and identity. After examining Rikako and Makishima, the paper takes a step back and apply the principles of the sublime to anime as a medium and Psycho-Pass as a whole. Psycho-Pass reminds viewers that violent media like horror anime and crime stories can use the sublime as a catalyst for critical thinking without endorsing violence.

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5

Costa de Freitas, Jan Clefferson, and Jennifer Sarah Cooper. "Sublime Contemplar/Sublime Reverie." Cadernos Cajuína 2, no. 3 (November 19, 2017): 126. http://dx.doi.org/10.52641/cadcaj.v2i3.169.

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<p><strong>Sublime Contemplar </strong></p><p> </p><p>Perfumes ao vento nos prados floridos</p><p>Primavera levando as sementes do sol</p><p>Natureza pintando paisagens coloridas</p><p>Sinfonias de silvos feitas pelo rouxinol</p><p>O rio cantarola as melodias silvestres</p><p>Peixes nadando de felicidade no leito</p><p>Na floresta animais brincando céleres</p><p>Festejam a vida celebrando o infinito</p><p>As árvores verdes vicejam de beleza</p><p>Com frutas deliciosas para saborear</p><p>Subir em cima delas com delicadeza</p><p>E dos seus melhores frutos desfrutar</p><p>Neste belo lugar por tudo agradecer</p><p>Descansar sob os céus cor de laranja</p><p>Ofertar a terra o mais lindo bouquet</p><p>Contemplando a formosura soberana!</p><p> </p><p> </p><p>Jan Clefferson Costa de Freitas – Doutorando em Filosofia: UFPB/UFPE/UFRN</p><p> </p><p> </p><p><strong>Sublime Reverie</strong></p><p><strong><br /></strong></p><p>Fragrant wind of florid grasslands</p><p>Spring brings seeds of sun</p><p>Nature paints landscapes of color</p><p>Symphonies of whistling thrushes</p><p>Wild melodies the river hums</p><p>To the joy of fish splash in the riverbed</p><p>In the forest, animals quick at play</p><p>Life’s Festival celebrating the infinite</p><p>Green trees flourish beauty</p><p>Bear tasty fruit to taste</p><p>Climb them carefully</p><p>& savor their best </p><p>In this lovely place thank everything</p><p>Rest under an orange sky</p><p>Earth throws a dazzling bouquet</p><p>Musing her reigning loveliness!</p><p> </p><p> </p><p>Translated by Jennifer Sarah Cooper, PhD</p><p>Natal, 2017</p>

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6

São Paulo, Yves. "Uma interpretação do papel da escuridão no sublime de Burke." REVISTA APOENA - Periódico dos Discentes de Filosofia da UFPA 3, no. 6 (April 24, 2022): 48. http://dx.doi.org/10.18542/apoena.v3i6.12244.

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John Locke interpreta que a luz causa mais dores do que a escuridão. A partir desta leitura, Edmund Burke realiza uma crítica ao seu antecessor para mostrar o papel da escuridão e da obscuridade no desenvolvimento das ideias de sublime. O sublime de Burke compreende a uma transformação da dor em deleite, quando a dor desaparece. Desta forma, a escuridão, sendo fonte de horror e dor, seria também uma das fontes para extrair ideias sublimes a partir da evocação de algo que se esconde por trás de sua miragem da ausência. Seguindo a leitura acerca do que é o sublime em Burke, do papel da escuridão em promover o sublime, do conflito entre escuridão e luz, será feita a interpretação de uma obra fílmica – O Sétimo Selo, de Ingmar Bergman – e de uma obra literária – Ensaio sobre a cegueira, de José Saramago. Em ambos os casos serão notados o papel da obscuridade, mas a partir de imagens divergentes.

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7

Gammelgaard, Lasse. "Det ophøjede i dansk romantik og en figurativ-filosofisk vurdering af Jens Baggesen og Schack von Staffeldts digterdyst." European Journal of Scandinavian Studies 48, no. 2 (October 25, 2018): 149–69. http://dx.doi.org/10.1515/ejss-2018-0014.

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Abstract This article surveys the sublime in Danish romantic literature as well as its partly neglected reception by scholars of Danish Romanticism. Theoretically, it is argued that there has been a tendency to focus either on the sublime’s philosophical implications (citing Immanuel Kant) or on the rhetorical figures and tropes of the sublime (“Longinus”). In the article, it is claimed that a comprehensive understanding of the sublime needs to address both its rhetorical dimension (going back to “Longinus”) and Kant’s philosophy of the sublime in the 18th Century. It is suggested that one needs to address how the philosophical content interacts with figures and tropes, when analyzing literature of the sublime. An integrated reading strategy is then exemplified in a comparative interpretation of Jens Baggesen’s poem “Paa Spidsen af St. Gottard” and Schack von Staffeldt’s poem “Paa Toppen af Mont-Cenis”. This analysis challenges the received notion that Baggesen’s poem is superior to that of Staffeldt.

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Da Silva Santos, Fabiano Rodirgo, and Sheila Dálio. "“Sublime feminino” em Cecília Meireles." Revista Texto Poético 15, no. 28 (October 15, 2019): 401. http://dx.doi.org/10.25094/rtp.2019n28a619.

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Este estudo visa abordar as relações entre a representação feminina e o sublime, por meio da comparação entre dois momentos da poesia de Cecília Meireles: sua obra inaugural, Espectros (1919), e sua produção madura, representada por Viagem (1939), Vaga Música (1942) e Mar Absoluto e Outros Poemas (1945). Sensível às influências simbolistas e da tradição romântica, Cecília Meireles cria um sistema de imagens que orbitam em torno de figuras femininas envoltas em melancolia e fatalidade e delineadas a partir de convenções sublimes. Daí ser possível depreender na poesia ceciliana um motivo reincidente que aqui convencionamos denominar “sublime feminino”.

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9

Bancquart, Marie-Claire. "Une mise en cause du sublime à la fin du XIXe siècle: sublime, sublimé, sublimation." Revue d'histoire littéraire de la France o 86, no. 1 (January 1, 1986): 109–17. http://dx.doi.org/10.3917/rhlf.g1986.86n1.0109.

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Résumé L'époque « décadente », 1880-1900, voit se raréfier l'emploi du terme « sublime ». Il gêne les critiques ; il est mal accepté par un public plus accessible au pathétique. Quant aux écrivains, une positivité désenchantée les persuade de l'extrême contingence de notre condition, au moment même où se fonde en France la psychologie des profondeurs. On assiste donc à une réduction du « sublime », qui nie celui-ci au profit de la pseudophysis des « sublimés » (extraits, concentrés, élixirs), gammes analogiques s'exténuant dans l'ennui de vivre. C'est alors que le mot «sublimation» perd son sens romantique pour prendre l'acception médicale que nous connaissons.

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10

Vedda, Miguel. "Sublimidad estética y ascetismo burgués: A propósito de la “Analytik des Erhabenen”." Pandaemonium Germanicum, no. 8 (December 19, 2004): 39. http://dx.doi.org/10.11606/1982-8837.pg.2004.67396.

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O artigo examina a desproporção da analítica do sublime no âmbito da crítica do julgamento como analogia à impossibilidade de conciliar teoria e prática moral / natureza e razão. Com isso, delineia-se novamente a ponte entre a primeira e a segunda críticas, as quais devem ser mediadas pela terceira: o sublime corresponde à violência velada nos processos sociais. A posição de Kant é trabalhada contra o pano de fundo de Shaftesbury e Burke e, assim, a tônica recai sobre a orientação do filósofo de Königsberg em relação a idéias racionais ahistóricas. Seu conceito de sublime (assim como sua ética) posiciona- se, portanto, na tradição do ascetismo protestante assim como do capitalista-burguês. Tanto o observador da natureza e arte sublimes como aquele que segue o imperativo moral devem igualmente preterir o que é material e a satisfação direta dos anseios em favor de uma satisfação maior, intelectual. Do mesmo modo, a ausência de forma e medidas do sublime encontra seu paralelo na „infinidade negativa“ do capital e na „segunda natureza“ tecnológica.

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11

Young, Elizabeth. "Homer in a Nutshell: Vergilian Miniaturization and the Sublime." PMLA/Publications of the Modern Language Association of America 128, no. 1 (January 2013): 57–72. http://dx.doi.org/10.1632/pmla.2013.128.1.57.

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This paper explores the strange fascination with smallness that runs through Vergil's Aeneid, focusing on the bee simile in book 1, the poem's inaugural miniaturizing moment. Deviating from the standard paradigms of Vergilian criticism, I suggest we can learn a great deal about smallness in this poem by studying it through the lens of the sublime. My analysis bypasses the proliferation of Romantic sublimes to draw primarily on a model of sublimity derived from Neil Hertz's influential reading of Longinus. Read through the Hertzian sublime, miniaturization in the Aeneid is revealed as a subtle articulation of the poem's running concern with power. The bee simile, I argue, enacts a threefold drama in which hero, author, and reader confront what I call their sublime condition, coming to terms with their implication in immensities beyond their comprehension and control.

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12

Mathäs, Alexander. "Keeping Narcissism at Bay: Kant and Schiller on the Sublime." Konturen 3, no. 1 (December 28, 2010): 19. http://dx.doi.org/10.5399/uo/konturen.3.1.1371.

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This essay considers the sublime as a veiled form of narcissism. Both narcissism and the sublime test and reveal the limits of the concept of the self and both can be viewed as attempts to transcend the borders of the self. Yet while narcissism has been defined as a “failure of spiritual ascent” (Hadot), the sublime has been used to transcend the limitations of the self by pointing to its infinite potential. The essay explores how the sublime in Immanuel Kant’s and Friedrich Schiller’s aesthetics relies on narcissistic impulses by creating a male inner self and protecting it from the stigma of vanity. I propose that their use of this aesthetic category helped objectify an essentially subjectivist aesthetics. Yet while Schiller follows Kant in deriding the sensual aspects of human nature as egotistical and amoral, Schiller’s dramas also challenge some of the Kantian premises. When Schiller’s protagonists sacrifice lives in the service of ethical ideas, the sublime’s oppressive spirit reveals itself.

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Hayati, Meyla Nur, Yusro Edy Nugroho, and Sucipto Hadi Purnomo. "Pengembangan Buku Pengayaan Teks Dialog Banyumasan Berbasis Pitutur Luhur Pupuh Gambuh untuk Siswa Kelas VIII SMP." Piwulang : Jurnal Pendidikan Bahasa Jawa 8, no. 1 (July 1, 2020): 71–79. http://dx.doi.org/10.15294/piwulang.v8i1.30199.

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The objectives of this study are (1) to describe the needs of Javanese junior high school language students and teachers in Banyumas on the Banyumasan dialogue text enrichment book based on sublime pupuh Gambuh, (2) to make a prototype draft Banyumasan dialogue text enrichment book based on sublime pupuh Gambuh, and (3 ) describe the results of the prototype validation of Banyumasan dialogue text enrichment book based on sublime pupuh Gambuh. The method used in this study is the Research and Development (R & D) method. The development phase of the Banyumasan dialog text enrichment book based on the subline pupuh gambuh picture refers to the steps of Sugiyono (2010: 409) which are tailored to the research needs, namely: (1) potential and problems, (2) data collection, (3) product design, (4 ) product validation, and (5) product revisions. This study produced a Banyumasan dialog text enrichment book based on the advice of pupuh gambuh.

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Hildebrand, Julia M. "On Self-Driving Cars as a Technological Sublime." Techné: Research in Philosophy and Technology 23, no. 2 (2019): 153–73. http://dx.doi.org/10.5840/techne2019722100.

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Driverless automobility presents a “technological sublime” (Marx 1964; Nye 1994, 1997) encompassing both promises and perils. The light side of the emerging transportation future lies, for instance, in the newly gained freedom from driving. The dark side of this sublime includes ethical challenges and potential harm resulting from the required socio-technical transformations of mobility. This article explores contemporary visions for the self-driving car future through the lens of the sublime and some of its theoretical variations, such as the natural (Kant 1965), technological (Marx 1964; Nye 1994, 1997), electrical (Carey and Quirk 1989), and digital (Mosco 2005) sublime. Nissan’s IDS Concept preview clip (2015) and the Chevrolet FNR trailer (2015) serve as examples for this analysis, which aims to demythologize the visual rhetoric of the depicted awe-inspiring self-driving systems. The sublime’s inherent dialectic of inducing both pleasure and displeasure is removed in the corporate utopian visions in favor of an exalting partnership between human and machine. This strategy succeeds by setting the mobility future in the context of controlled parameters such as the trustworthy communicative vehicle, the vital and independent protagonists, and the harmless and unharmed environment. Recognizing such recurring strategies and identifying the controlled parameters which allow the sublime object to electrify, not terrify, is key for a sensible engagement with such imagined futures and their social, cultural, political, economic, environmental, and ethical implications. Such premediations (Grusin 2010) of awe-inspiring technological formations and the underlying logics ask to be unpacked toward decision making that considers all potential facets of the sublime future.

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15

Korsmeyer, Carolyn. "Fear and Disgust: the Sublime and the Sublate." Revue internationale de philosophie 246, no. 4 (January 6, 2009): 367–79. http://dx.doi.org/10.3917/rip.246.0367.

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16

Jouvenot, Christian. "Marguerite Obscur Donnadieu Duras : " Sublime, forcément sublime ?" Revue française de psychanalyse 69, no. 5 (2005): 1613. http://dx.doi.org/10.3917/rfp.695.1613.

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Hore, Shouvik Narayan. "Imaginary Conversations: Weiskel Versus Coleridge." Dialogue: A Journal Devoted to Literary Appreciation 18, no. 1 (June 25, 2022): 01–10. http://dx.doi.org/10.30949/dajdtla.v18i1.8.

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From Robert Southey's prima facie mockery of Samuel Taylor Coleridge's The Rime of the Ancient Mariner (1798, expanded 1834, also alternatively spelt The Rime of the Ancyent Marinere) in the October 1798 issue of the Critical Review, to John T. Netland transfixing the religious sublime on the poem, the Coleridgean Sublime, vis-à-vis his arguably classic piece, has walked a perilous way.Whether Southey contests (not unreasonably) the arcane elevation of a poetical theme Germanized by an inwoven philosophical texture, or Netland hinting at the antithetical, if not antinomial (I use it in the sense of unresolved) tension between the supernaturally acquired Sublime (hence heathenic, taking its deus ex machina into consideration) and its counterpart, the residual sublimity accessed, or rendered accessible after the spoils of civilization, it remains clear, adequately enough, that The Rime's erhabene traverses sublimes, or sublimities, instead of being cooped up within one. This assertion, as it now stands, receives its necessary share of emphasis from Thomas Weiskel who, in Chapter Four ('The Logic of Terror') of The Romantic Sublime (1976), contends with its broader argument, projecting Romantic Sublimity across genres of rhetoric, aesthetic and moral enhancement. I take my cue from Weiskel in this essay, expatiating through a Landoresque dialogue (if not a discourse), on how the Coleridgean Sublime, both consciously and unconsciously, walks its ideological path from Longinus to Kant, and why. I shall also contest how the “Logic” (I shall interchange it with limits, the reason being self- explanatory) of terror slowly winds its way from the terror of rhetorical annexation, to the terror of an infinite antithesis, culminating in the terror of moral imperialism, as opposed to superiority. Unless otherwise mentioned in-text, the 1798 edition of the Rime has been accepted as the standard text by the author, instead of the 1834 text.

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18

Weckman, Jan Kenneth. "The sublime." Approaching Religion 7, no. 2 (November 30, 2017): 64–65. http://dx.doi.org/10.30664/ar.67739.

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19

Betts, Tom. "Game Sublime." Radar 2, no. 1 (March 1, 2011): 26–27. http://dx.doi.org/10.5920/radar.2011.2126.

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20

Chalifour, Bruno. "Modern Sublime." Afterimage 30, no. 5 (March 2003): 10–11. http://dx.doi.org/10.1525/aft.2003.30.5.10.

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21

Frampton, Daniel. "Sublime confusion." Philosophers' Magazine, no. 47 (2009): 73–78. http://dx.doi.org/10.5840/tpm20094716.

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Mahmood, Karzan A. "The Sublime." Koya University Journal of Humanities and Social Sciences 4, no. 1 (June 30, 2021): 76–85. http://dx.doi.org/10.14500/kujhss.v4n1y2021.pp76-85.

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This paper aims at analysing the concept of the sublime, which is a pioneering concept of the English Romantics poetry, in relation to the French revolution in the works of Edmund Burke. Burke, unlike all other thinkers who view sublimity as a delightful and elevating feeling, perceives sublimity as an element of dangerous and terrifying incidents and objects mainly in relation with the great incident of the French Revolution. Hence, the paper concentrates on that essential metamorphosis in the content of the concept from progression to regression in the concept of sublime. Burke himself witnessed the revolution in France and propounded his philosophical viewpoints revolving around the notion of the sublime. He contended that the sublimity is whatsoever that brings about terror or is what terrifies the subjects. From this, he concluded that the French revolution was sublime because it was dangerous and threatened the natural laws and order, religion and God’s genuine sublime, traditions and constitution. In this paper, in addition, his ideas to illustrate sublime will ultimately, to some degree, be evaluated and criticised. The second part will be dedicated to demonstrating the aesthetics nature and aspect of the concept of the sublime. While the third part will display the relation of the concept, the way it is exhibited in chapter two, in relation to the great revolution in France.

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23

Li, Gege. "Sublime slime." New Scientist 251, no. 3355 (October 2021): 26–27. http://dx.doi.org/10.1016/s0262-4079(21)01795-4.

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24

Woodward. "American Sublime." American Journal of Theology & Philosophy 37, no. 1 (2016): 79. http://dx.doi.org/10.5406/amerjtheophil.37.1.0079.

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25

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

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26

Joch, Peter, Louis Marin, Catherine Porter, and Henry Keazor. "Sublime Poussin." Zeitschrift für Kunstgeschichte 63, no. 2 (2000): 287. http://dx.doi.org/10.2307/1594944.

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27

Radloff, Bernhard. "Sublime Repetitions." University of Toronto Quarterly 71, no. 2 (April 2002): 674–97. http://dx.doi.org/10.3138/utq.71.2.674.

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28

Callan, Guy. "Sublime Marin." Art Book 7, no. 4 (September 2000): 8–11. http://dx.doi.org/10.1111/1467-8357.00211.

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29

Butts, Anthony. "The Sublime." Callaloo 26, no. 3 (2003): 593–5593. http://dx.doi.org/10.1353/cal.2003.0079.

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30

Hansen, Jens Ole. "Det sublime." Slagmark - Tidsskrift for idéhistorie, no. 6 (January 30, 2018): 132. http://dx.doi.org/10.7146/sl.v0i6.103436.

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31

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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32

Pederson, Claudia C. "Sublime Strategies." Afterimage 36, no. 4 (January 1, 2009): 41. http://dx.doi.org/10.1525/aft.2009.36.4.41.

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33

Sandford, Mariellen R. "Sublime Discomfort." TDR/The Drama Review 49, no. 1 (March 2005): 17–18. http://dx.doi.org/10.1162/1054204053327950.

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Slaughter, Marty. "Sublime Mercy." Law, Culture and the Humanities 6, no. 3 (August 27, 2010): 436–54. http://dx.doi.org/10.1177/1743872110374266.

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Highfield, Roger. "Sublime gas." New Scientist 212, no. 2840 (November 2011): 26–27. http://dx.doi.org/10.1016/s0262-4079(11)62897-2.

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Kröber, Hans-Ludwig. "Sublime Entlassungshindernisse." Forensische Psychiatrie, Psychologie, Kriminologie 13, no. 3 (June 26, 2019): 292–93. http://dx.doi.org/10.1007/s11757-019-00547-2.

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37

Allmark, Panizza. "Sublime spaces." Continuum 23, no. 3 (June 2009): 383–88. http://dx.doi.org/10.1080/10304310902883508.

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38

Pozzo, Giovanni Da, and Margaret Brose. "Leopardi Sublime." Italica 75, no. 3 (1998): 469. http://dx.doi.org/10.2307/480069.

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Herceg, Karen Corinne. "Sublime Portals." American Book Review 38, no. 5 (2017): 25–26. http://dx.doi.org/10.1353/abr.2017.0093.

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Carrier, D. "Sublime Poussin." Common Knowledge 9, no. 1 (January 1, 2003): 167. http://dx.doi.org/10.1215/0961754x-9-1-167.

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Kuzniar, A. A. "SUBLIME SHAME." GLQ: A Journal of Lesbian and Gay Studies 15, no. 3 (January 1, 2009): 499–512. http://dx.doi.org/10.1215/10642684-2008-034.

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Van Hoesen, Brett M. "Sublime Seas." Nka Journal of Contemporary African Art 2020, no. 46 (May 1, 2020): 180–83. http://dx.doi.org/10.1215/10757163-8308294.

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Sebbag, Georges. "Sublime Gradiva." Gradhiva 6, no. 1 (1989): 65–67. http://dx.doi.org/10.3406/gradh.1989.1197.

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Lappi, Rosita. "Sublime distopico." PSICOTERAPIA PSICOANALITICA, no. 2 (November 2022): 44–56. http://dx.doi.org/10.3280/psp2022-002003.

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Abstract:

L'articolo vuole evidenziare il sublime distopico, la fascinazione della paura e del dolore, spaziando tra l'arte che ha dato visioni esteti-che al sublime e la psicoanalisi che lavora con le derive distopiche del-la sofferenza. Tracciando un breve excursus del sublime nell'arte, il tema psicoanalitico della sublimazione viene collegato alle forme nega-tive della visione distopica della sofferenza rappresentata nell'arte. I traumi emergono in forme e stili che fanno del particolare, del frantu-mato, del materico, del disgregato, un manifesto programmatico artisti-co contemporaneo. La distopia si mette in relazione con la concezione dolorosa e tragica della vita e la porta ad estreme conseguenze nella vi-sione del futuro, esasperando paure e pericoli già esistenti nel passato. Nello scritto, attraverso una breve storia clinica, si riflette su come cambia il passato, guardandolo dalla distanza di una profonda rielaborazione analitica che, come una sonda, lo riesamina e ne "risente gli echi". La visione distopica del futuro sarà ancora una traversata del deserto, avrà ancora i caratteri del sublime pauroso o ritornerà, trasforma-to, su dimensioni meno disarmoniche?

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Pritchett, Kathryn Loosli. "Ridiculously Sublime." Dialogue: A Journal of Mormon Thought 34, no. 3-4 (October 1, 2001): 199–200. http://dx.doi.org/10.2307/45226802.

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Zechner, Dominik. "Sublime sufferings." Journal of Romance Studies 22, no. 4 (December 2022): 437–60. http://dx.doi.org/10.3828/jrs.2022.25.

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Bethany Halford. "Sublime Systems." C&EN Global Enterprise 101, no. 37 (November 13, 2023): 34–35. http://dx.doi.org/10.1021/cen-10137-cover10.

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B, Amy. "Sublime Slime." Scientific American 328, no. 2 (February 2023): 72. http://dx.doi.org/10.1038/scientificamerican0223-72.

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Taylor, Jay A. "Sublime Complexity." Civil Engineering Magazine 93, no. 6 (November 2023): 55–63. http://dx.doi.org/10.1061/ciegag.0001697.

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Butterfield, Julian. "Sublime Disappearances." East Asian Journal of Philosophy 3, no. 1 (2024): 75–93. http://dx.doi.org/10.19079/eajp.3.1.75.

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