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Artykuły w czasopismach na temat "SUBLIME"
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Calleja, Marianela. "Sublime y neo sublimes". Boletín de Estética, nr 57 (20.12.2021): 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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Rodrigues Júnior, Edson José. "O sublime e a fome". Opiniães, nr 23 (3.08.2023): 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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Fonseca Lino, Sulamita. "O sublime e a pintura: entre a sensação no tempo e a destruição da beleza". Viso: Cadernos de estética aplicada 15, nr 28 (28.06.2021): 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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Holcombe, Cassandra. "The Horror of Serenity". Journal of Anime and Manga Studies 4 (3.12.2023): 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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Costa de Freitas, Jan Clefferson, i Jennifer Sarah Cooper. "Sublime Contemplar/Sublime Reverie". Cadernos Cajuína 2, nr 3 (19.11.2017): 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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São Paulo, Yves. "Uma interpretação do papel da escuridão no sublime de Burke". REVISTA APOENA - Periódico dos Discentes de Filosofia da UFPA 3, nr 6 (24.04.2022): 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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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, nr 2 (25.10.2018): 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, i Sheila Dálio. "“Sublime feminino” em Cecília Meireles". Revista Texto Poético 15, nr 28 (15.10.2019): 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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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, nr 1 (1.01.1986): 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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Vedda, Miguel. "Sublimidad estética y ascetismo burgués: A propósito de la “Analytik des Erhabenen”". Pandaemonium Germanicum, nr 8 (19.12.2004): 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.
Rozprawy doktorskie na temat "SUBLIME"
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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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Renata Tavares da Silva Lemos.pdf: 2502157 bytes, checksum: dd9593f73582bfe234482fc695bf62c9 (MD5)
Previous issue date: 2012-03-26This 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-dixThe 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 sublimeFew 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 travailleUnder 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 TélémaqueFénelon (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.
Książki na temat "SUBLIME"
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Crestani, Simone. Simone Crestani: Tensioni sublimi = sublime tensions. Cinisello Balsamo (Milano): Silvana, 2017.
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Carrano, Antonio. Sublime. Napoli: Guida, 2008.
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group), Sublime (Musical. Sublime. Santa Monica, CA: Gasoline Alley Records, 2016.
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Costelloe, Timothy, red. The Sublime. New York: Cambridge University Press, 2012. http://dx.doi.org/10.1017/cbo9780511978920.
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Evans, Murray J. Sublime Coleridge. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137121547.
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Shaw, Philip. The Sublime. 2nd edition. | New York: Routledge, 2017. | Series: The new critical idiom: Routledge, 2017. http://dx.doi.org/10.4324/9781315717067.
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Brose, Margaret. Leopardi sublime. [Bologna]: Re Enzo, 1998.
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López, Bernardo Ruiz. Sublime amistad. Wyd. 2. Jaén: Alto Guadalquivir, 1989.
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Zovatto, Pietro. Carso sublime. Trieste: Edizioni Parnaso, 1998.
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1958-, Morley Simon, red. The sublime. London: Whitechapel Gallery ; Cambridge, Mass., 2010.
Znajdź pełny tekst źródłaCzęści książek na temat "SUBLIME"
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Bussels, Stijn, Bram van Oostveldt, Wieneke Jansen, Frederik Knegtel i Laura Plezier. "Sublime". W Encyclopedia of Renaissance Philosophy, 1–6. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-02848-4_1136-1.
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Clewis, Robert R. "Sublime". W The Palgrave Encyclopedia of the Possible, 1–8. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-98390-5_114-1.
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Bussels, Stijn, Bram van Oostveldt, Wieneke Jansen, Frederik Knegtel i Laura Plezier. "Sublime". W Encyclopedia of Renaissance Philosophy, 3174–79. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-319-14169-5_1136.
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Lamb, Jonathan. "Sublime". W The Routledge Handbook of Reenactment Studies, 210–12. First edition. | New York: Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780429445637-46.
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Janowitz, Anne. "Sublime". W A Handbook of Romanticism Studies, 55–67. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781444356038.ch3.
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Clewis, Robert R. "Sublime". W The Palgrave Encyclopedia of the Possible, 1594–602. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-90913-0_114.
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Smethurst, Paul. "Natural Sublime and Feminine Sublime". W Travel Writing and the Natural World, 1768–1840, 153–70. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137030368_8.
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Halimi, Suzy. "The Sublime". W A Handbook to English Romanticism, 269–71. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22288-9_76.
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McCloskey, Mary A. "The Sublime". W Kant’s Aesthetic, 94–104. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-08796-9_10.
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Cheney, Patrick. "The Sublime". W A Companion to Renaissance Poetry, 611–27. Chichester, UK: John Wiley & Sons, Ltd, 2018. http://dx.doi.org/10.1002/9781118585184.ch46.
Pełny tekst źródłaStreszczenia konferencji na temat "SUBLIME"
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Armengol-Urpi, Alexandre, i Sanjay E. Sarma. "Sublime". W VRST '18: 24th ACM Symposium on Virtual Reality Software and Technology. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3281505.3281514.
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Hsu, Frances. "Cartographic Sublime". W 2019 ACSA Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.41.
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Kant distinguishes two notions of the sublime: the mathematically sublime and the dynamically sublime. In the case of both notions, the experience of the sublime consists in a feeling of the superiority of our own power of reason, as a super sensible faculty, over nature. (Stanford Encyclopedia of Philosophy) The concept of the sublime was associated with nature in late 18th and early 19th century aesthetics. Political philosopher and states-man Edmund Burke evoked human mortality in A Philosophical Inquiry into the Origin of our Ideas of the Sublime and the Beautiful, defining the sublime as experience of the overwhelming magnitude of phenomena in the natural world which causes “a sort of delightful horror, a sort of tranquility tinged with terror; which, as it belongs to self-preservation, is one of the strongest of all the passions.” Kant, in contrast to Burke, defines rationality is an important component of the experience of the sublime: “The sublime is to be found in an object even devoid of form, so far as it immediately involves, or else by its presence provokes a representation of limitlessness, yet with a super-added thought of its totality.” That is, reason--super-added thought--allows us to comprehend and challenge the entirety of that which is beyond comprehension. He writes that “the feeling of the sublime in nature is respect for our own vocation . . . this feeling renders as it were intuitable the supremacy of our cognitive faculties on the rational side over the greatest faculty of sensibility.” For Kant, in other words, the experience of the sublime was the oscillation between sensation and rationality in the face of the overwhelming-ness of phenomena in the world.
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Perez, Santiago R. "The Synthetic Sublime". W ACADIA 2004: Fabrication. ACADIA, 2004. http://dx.doi.org/10.52842/conf.acadia.2004.162.
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LAGE VELOSO, CARMEN. "EL RAPTO DE LO SUBLIME". W IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9593.
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El empirismo inglés revitaliza el concepto de lo sublime formulado por Longino. Los vínculos con la retóricas cuya finalidad es fascinar al oyente, sitúan esta categoría estética entre las más elevadas (hypsos) estrategias de seducción. Lo sublime eleva nuestra alma hasta el éxtasis, inhibe nuestro razonamiento y quedamos atónitos, horrorizados, nuestras facultades paralizadas, sumidos en un estado de abandono. Determinadas imágenes de la escatología cristiana, como las grandes machines de las cubiertas de los templos, perseguían un desprendimiento tal, una elevación hacia el límite, hacia lo inconmensurable. El primer pintor de Luis XIV, Charles Le Brun, encargado de todo el aparato propagandístico que rodeaba el absolutismo, ofrece en Les expressions des passions de l’âme una extensa taxonomía de las emociones humanas. No podemos evitar leer en el dibujo que dedica al ravissement (encantamiento o rapto), evidentes analogías con l´enlèvement ou ravissement de l’Église, anteriormente relatado. Vinculado con la asimilación de los signficantes exiliados, con aquello que produce vértigo, lo sublime funciona como discurso de legitimación del orden vigente y se sustenta en la entrega del sujeto. La corte dieciochesca no malgastaba sus recursos, profundamente conocedora de la importancia de las estrategias de la vigilancia y control. Lo sublime requiere individuos conmovidos, casi exaltados en éxtasis religioso, capaces de adhesiones fascinadas incluso ante los actos más horrendos. En La doctrina del shock, Naomi Klein describe la estrategia: para imponer reformas impopulares, se suele aprovechar algún estado de shock. Mientras los ciudadanos se recuperan del trauma se produce un proceso de de aceptación. ¿Y si no sucede espontáneamente ninguna crisis? La respuesta es terrorífica. Muchos autores hablan del papel clave de lo sublime en la legitimación de la modernidad y en la configuración del relato postmoderno. Su recuperación ¿responde a una nueva crisis de legitimación?
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Diamond, Sara, Jane Prophet, Joshua Portway, Catherine Richards, Douglas MacLeod, Arlindo Ribeiro, Machado Neto i Ahasiw Maskegon-Iskwew. "Sublime and impossible bodies (panel)". W ACM SIGGRAPH 98 Conference abstracts and applications. New York, New York, USA: ACM Press, 1998. http://dx.doi.org/10.1145/280953.281587.
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Ong, Joel, Robert Twomey, Eunsu Kang i Kangsan Joshua Jin. "Beyond Classification: The Machinic Sublime". W Proceedings of Polititcs of the machines - Rogue Research 2021. BCS Learning & Development, 2021. http://dx.doi.org/10.14236/ewic/pom2021.50.
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Огарков, А. Н., i О. С. Субботина. "IDEAL AND SUBLIME: WES ANDERSON’S ANIMATION". W Мультимедиа: современные тенденции IX Международная научно-практическая конференция. Crossref, 2024. http://dx.doi.org/10.54874/9785605054290_72.
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Инновационная стилистика анимационных фильмов американского режиссера Уэса Андерсона отличается как от классического, так и от модернистского кинематографа. Ее особенность — в размывании границы между мультипликацией и кинематографической сценографией. В результате воображаемый и реальный миры синтезируются согласно единому замыслу их реконструкции до идеальной версии, предполагающей практическое слияние традиционно разведенных областей Прекрасного и Возвышенного. The innovative style of animated films by American director Wes Anderson differs from both classical and modern cinema. Its peculiarity is the blurring of the boundary between animation and cinematic scenography. As a result, the imaginary and real worlds are synthesized according to a single plan of their reconstruction to the ideal version, which presupposes a practical fusion of the traditionally divorced areas of the Beautiful and the Sublime.
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Dimitrakopoulou, Georgia. "WILLIAM BLAKE�S AESTHETICS IN THE MYTH OF THE ANCIENT BRITONS". W 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s10.16.
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William Blake�s aesthetic vision of the secular world is based on divine inspiration. In the myth of The Ancient Britons, he discusses the three aesthetic categories of the sublime, the beautiful and the ugly. These establish his theory of art, which is based on Jesus the Imagination. The sublime, the beautiful and the ugly are forms indicative of gradations of divine influx in every individual. In this sense, the myth explicitly describes and distinguishes the three aesthetic categories that shape the secular and eternal human existence. It also concerns art and the role of the artist. Art is imagination and communication, and the artist is the inhabitant of that happy country of Eden. [1]. The artist is motivated by creative imagination, whose aesthetic quest starts from divine inspiration and ends in eternity. The true artist is the man of imagination, the poetic genius and the visionary aesthete. For Blake, imagination is a sublime force, the major aesthetic category of his vision and relates to the Strong man of The Ancient Britons. In addition, beauty is a distinct aesthetic category essential and supplementary to the formation of the Sublime of Imagination, Jesus incarnated, the archetype of Blake�s Strong man. He [Blake] distinguishes the three aesthetic categories of the sublime, the beautiful and the ugly by their actions, which define man. As he claims: �The Beautiful man acts from duty, whereas The Strong man acts from conscious superiority, and The Ugly man acts from love of carnage.� [2]. Starting from the conviction that antiquity and classical art provided obsolete models for emulation, Blake concluded that since the mathematic form is not art, it should not be the rule of the English eighteenth century art. Gothic, which is the living form, represents the union of the secular and divine worlds. The gothic artistic style is the incarnated Jesus, the Sublime of Imagination, Blake�s aesthetic apex, that is the supreme aesthetic category of his vision. The sublime and the beautiful are not contraries. They are supplementary aesthetic forms which contribute to the understanding of art. Beauty and intellectuality identify. Moreover, beauty is the power, the energizer of the true artist. Who is the human sublime? He is �The Strong man� who acts from conscious superiority, according to the divine decrees and the inspired, prophetic mind. Who is �The Beautiful man�? He is the man who acts from duty. Lastly, �The Ugly Man� is the man of war, aggressive, he/she acts from love of carnage, approaching to the beast in features and form, with a unique characteristic, that is the incapability of intellect. [3]. Undoubtedly, Blake�s aesthetic vision presents many difficulties in interpretation. In my opinion, the sublime is not an aesthetic category and/or a mere value that Blake uses randomly without artistic reference. His aestheticism is secular and aspiring to perfection. The secular sublime, which describes the fallen human state, suggests the masculine and feminine experience of the Fall. Consequently, the human situation appears doomed and irredeemable. If the sublime is the masculine and pathos the feminine forms, Blake assumes that the inevitability of reasoning and suppression of desire, whose origin is energy, brings about their separation and incompleteness. In a non-communicative intercourse, the sublime (masculine) and the beautiful (pathos) are apart. These are the fallen state�s consequences. As the masculine and feminine are not contraries but supplementary forms, so the sublime and pathos are potentially integrated entities. In eternity, the sublime and pathos are joined in an intellectual androgynous form. This theoretical idea is the core of Blake�s aesthetic �theory�. In fact, his aesthetic realism does not overlap his aesthetic idealism. He is optimistic, despite Urizen�s - reason�s predominance. The artist is the model of human salvation. Imagination is a redemptive force, �Exuberance is Beauty�, and the incapability of intellect is �The Ugly Man�. The three classes of men, the elect, the redeemed and the reprobate juxtapose to the sublime, beautiful and ugly. These are restored to their true forms and their qualities are reinstated in infinity. All human forms are redeemable states, not static but progressive, even if their fulfilment on earth is improbable.
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Fortin, Claude. "Recasting the data sublime in media architecture". W MAB '16: Media Architecture Biennale 2016. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2946803.2946809.
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Rodrigues de Lima, Jônia. "ARTE IMERSIVA E SUAS CAPACIDADES AO SUBLIME". W 31º Encontro Nacional da ANPAP - EXISTÊNCIAS. ,: Even3, 2022. http://dx.doi.org/10.29327/31enanpap2022.507290.
Pełny tekst źródłaRaporty organizacyjne na temat "SUBLIME"
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Strohmaier, Erich, Hans W. Meuer, Jack J. Dongarra i Horst D. Simon. TOP500 Sublist for November 2001. Office of Scientific and Technical Information (OSTI), listopad 2001. http://dx.doi.org/10.2172/861182.
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Flanagan, D. M., i J. N. Davis. Switchover software reliability estimate for Paducah Freezer/Sublimer computer systems. Office of Scientific and Technical Information (OSTI), kwiecień 1993. http://dx.doi.org/10.2172/10160490.
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Hamza, A. V., i M. Balooch. Growth of silicon carbide on silicon via reaction of sublimed fullerenes and silicon. Office of Scientific and Technical Information (OSTI), luty 1996. http://dx.doi.org/10.2172/231594.
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Jordan, W. C. Calculational criticality analyses of 10- and 20-MW UF[sub 6] freezer/sublimer vessels. Office of Scientific and Technical Information (OSTI), luty 1993. http://dx.doi.org/10.2172/6694484.
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Tapp, P., C. Carnal, J. Wells, J. Belcher, F. Gibson i F. Ruppel. A process simulator/trainer for the process inventory control system 20-MW freezer/sublimer. Office of Scientific and Technical Information (OSTI), maj 1991. http://dx.doi.org/10.2172/5749874.
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d�Hiriart, Sof�a, i Pablo E. Ortiz. Auliscomys sublimis. En: SAyDS�SAREM (eds.) Categorizaci�n 2019 de los mam�feros de Argentina seg�n su riesgo de extinci�n. Ciudad Aut�noma de Buenos aires: Lista Roja de los mam�feros de Argentina, listopad 2019. http://dx.doi.org/10.31687/saremlr.19.296.
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Izhar, Shamay, Maureen Hanson i Nurit Firon. Expression of the Mitochondrial Locus Associated with Cytoplasmic Male Sterility in Petunia. United States Department of Agriculture, luty 1996. http://dx.doi.org/10.32747/1996.7604933.bard.
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The main goal of the proposed research was to continue the mutual investigations into the molecular basis of CMS and male fertility restoration [MRF], with the ultimate goal of understanding these phenomena in higher plants. The experiments focused on: (1) dissecting apart the complex CMS - specific mitochondrial S-Pcf locus, in order to distinguish its essential parts which cause sterility from other parts and study its molecular evolution. (2) Studying the expression of the various regions of the S-Pcf locus in fertile and sterile lines and comparing the structure and ultrastructure of sterile and fertile tissues. (3) Determine whether alteration in respiration is genetically associated with CMS. Our mutual investigations further substantiated the association between the S-Pcf locus and CMS by the findings that the fertile phenotype of a population of unstable petunia somatic hybrids which contain the S-Pcf locus, is due to the presence of multiple muclear fertility restoration genes in this group of progenies. The information obtained by our studies indicate that homologous recombination played a major role in the molecular evolution of the S-Pcf locus and the CMS trait and in the generation of mitochondrial mutations in general. Our data suggest that the CMS cytoplasm evolved by introduction of a urs-s containing sublimon into the main mitochondrial genome via homologous recombination. We have also found that the first mutation detected so far in S-Pcf is a consequence of a homologous recombination mechanism involving part of the cox2 coding sequence. In all the cases studied by us, at the molecular level, we found that fusion of two different cells caused mitochondrial DNA recombination followed by sorting out of a specific mtDNA population or sequences. This sequence of events suggested as a mechanism for the generation of novel mitochondrial genomes and the creation of new traits. The present research also provides data concerning the expression of the recombined and complex CMS-specific S-Pcf locus as compared with the expression of additional mitochondrial proteins as well as comparative histological and ultrastructural studies of CMS and fertile Petunia. Evidence is provided for differential localization of mitochondrially encoded proteins in situ at the tissue level. The similar localization patterns of Pcf and atpA may indicate that Pcf product could interfere with the functioning of the mitochondrial ATPase in a tissue undergoing meiosis and microsporogenesis. Studies of respiration in CMS and fertile Petunia lines indicate that they differe in the partitioning of electron transport through the cytochrome oxidase and alternative oxidase pathways. The data indicate that the electron flux through the two oxidase pathways differs between mitochondria from fertile and sterile Petunia lines at certain redox states of the ubiquinone pool. In summary, extensive data concerning the CMS-specific S-Pcf locus of Petunia at the DNA and protein levels as well as information concerning different biochemical activity in CMS as compared to male fertile lines have been accumulated during the three years of this project. In addition, the involvement of the homologous recombination mechanism in the evolution of mt encoded traits is emphasized.