Concept Of Sublime Research Articles

Création littéraire et littérature schizophrénique : Deleuze et Guattari lecteurs de Freud

ObjectivesThe aim of this article is to show that the critique of the place and function of the Oedipus complex in Freudian psychoanalysis implies a critique of Freudian aesthetics. MethodWe will first propose a reconstruction of what Deleuze and Guattari take from Freudian aesthetics, namely an aesthetics of form, centered on the theater, and starting from Freud's experience as a spectator of Sophocles’ Oedipus Rex. In a second movement, we will try to identify what Deleuze and Guattari intend to propose to replace this aesthetic of form, and which they name “schizophrenic literature,” situate in the short story rather than in the theater, and explicitly referring to delirium. ResultsThis strategic reconstruction allows us to formulate a hypothesis: that Freud would have implicitly made the theater the matrix of subjectivity, first in its aesthetics, but also in his individual aesthetic experiences and his preferences for a certain type of literary work. DiscussionThis systematic reading of Freudian “creative writing” theory challenges the concept of sublimation as the point of doctrine that rests on the selection of an “Oedipal” corpus and type of art. If the aesthetics of the form can be located in Freud's biography as a “literary effect” whose aesthetic pleasure is found in the economy of the spectator's projections onto the objects on stage, the aesthetics of the formless that is expressed by “schizophrenic literature” mobilizes a violence proper to the sublime: it is not definitively formalizable, and calls for very different feelings that transfigure the coordinates of an aesthetic experience. ConclusionThis schizophrenic tendency of literature leads to an ecological approach to the psychic, attentive to a context where the distinction between nature and culture is never clear.

Psykoanalysens poetik

In this article the author opens a discussion on Freud' s ideas of a psychoanalytic theory of aesthetics. The discussion is primarily concentrated on two of Freud's literary analyses: Wilhelm Jensen's novel Gradiva from 1907 and E.T.A. Hoffmann's storyabout the Sandman from 1919. The author points out the problem that Freud's aesthetic analyses almost all havetheir roots in his earlier writings, i.e. before the introduction of the structural model and the revised theory of instinct.This means that the Pleasure principle and the Wish-fulfilment theory originating from the work of dream interpretation are the thematic premises behind Freud' s thoughts about art and creativity. This hedonistic point of view has not without reason been criticized for reducing the rich complexity of art. With the reformulation of the theory of instinct and the introduction of Repetitioncompulsion a shift in perspective is accomplished in what could be called the aesthetics of psychoanalysis. Emphasized is the suggestion of this reformulation in the article from 1919 about Das Unheimliche in which the analysis of the Sandman is part.The author finally suggests a continued discussion implying a clarification of the concept of sublimation so vital to psychoanalytical poetics.

Virginia Woolf’s To the Light House: Revelation of Sublime in Privileged Moments

Woolf’s narrator, in To the Lighthouse experiences the privileged moment in line with the sublime of Longinus, the epiphany of Joyce, and the Wordsworth’s concept of spot of time. The closure of Woolf’s fiction coincides with Lily’s completion of the painting with a flash of vision, and with the family’s arrival to the lighthouse, an ultimate destination of the excursion. The family excursion to the final destination of the lighthouse corresponds to the artist’s final stroke and the novelist’s closing line, and thus, marking an experience of the privileged moment of sublime that an individual can experience in his or her living process. The article qualifies the concept of sublime while exploring it in To the Lighthouse.

Safety Valves of the Psyche: Reading Freud on Aggression, Morality, and Internal Emotions

This article argues for a Freudian theory of internal emotion, which is best characterised as key “safety valves of the psyche”. After briefly clarifying some of Freud’s metapsychology, I present an account regarding the origin of (self-)censorship and morality as internalised aggression. I then show how this conception expands and can be detailed through a defence of a hydraulic model of the psyche that has specific “safety valves” of disgust, shame, and pity constantly counteracting specific sets of Freudian drives. This model is important for explicating Freud’s crucial concept of sublimation, which continues to have key therapeutic and normative relevance today, which I show through the case of jokes. I finish with the argument that largely happy, productive lives can be seen as in a dynamic between the release of too much (perversion) and too little (neurosis) psychical pressure through these mechanisms.

The Sublime

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.

The Teaching Mode of Combining Theory with Practice in Automobile Inspection and Maintenance Specialty

With the continuous development of society, the auto industry has also been rapid rise, as the leader of auto repair professional vocational colleges, the principle of real integration teaching is an effective teaching mode, is a kind of teaching concept of sublimation, mechanics professional real integration teaching of rationality is a task that around the maintenance enterprise, under the guidance of teachers, students as the leading factor, the organic combination of theory teaching and practice teaching, teaching theory, in practice the use of technical secondary school, solve the problem of theory teaching and practice teaching, help to improve the quality of teaching and the cultivation of high-quality talents.

The Teaching Mode of Combining Theory with Practice in Automobile Inspection and Maintenance Specialty

With the continuous development of society, the auto industry has also been rapid rise, as the leader of auto repair professional vocational colleges, the principle of real integration teaching is an effective teaching mode, is a kind of teaching concept of sublimation, mechanics professional real integration teaching of "rationality" is a task that around the maintenance enterprise, under the guidance of teachers, students as the leading factor, the organic combination of theory teaching and practice teaching, teaching theory, in practice the use of technical secondary school, solve the problem of theory teaching and practice teaching, help to improve the quality of teaching and the cultivation of high-quality talents.

헤겔의 상징적 예술 형식에서 숭고 개념에 관한 연구 - 칸트, 리오타르, 지젝과의 연관성과 차이를 중심으로

헤겔의 상징적 예술 형식에서 숭고 개념에 관한 연구 - 칸트, 리오타르, 지젝과의 연관성과 차이를 중심으로

Sublime in the aesthetics of trauma

The subject of this article is the concept of sublime. The author examines which transformations has experiences the aesthetic theory of sublime since the XVIII century. In the context of aesthetics of trauma, sublime is a specific form of aesthetical experience that emerges in the context of encountering traumatic experience of the history, where the key concomitant affect is horror. The forms of sublime, associated with encountering the historical trauma, are immeasurable by their influence, as the scales of catastrophe cannot be assessed rationally, and the experience of historical violence discredits the possibility of subjective routine. Research methodology is structured on the philosophical-aesthetic approach. Which is based on analysis of the concepts of sublime and negative sublime. The author comes to the conclusion that sublime in the XX century experiences crisis related to reconsideration of the modernistic values. However, discipline associate with the aesthetic reconsideration of traumatic historical events – the aesthetics of trauma, rehabilitates the concept of sublime, because representation of the traumatic through referring to sublime, opens an opportunity to comprehend the traumatic experience and overcome it.

Regaining life after PTSD in the novel snow hunters (2013) by Paul Yoon

This thesis is an analysis of the novel Snow Hunters (2013) by Paul Yoon. This analysis aims to show the extent to which the contribution of fictional elements (character, settings, and plot / conflict) gives an idea of how the main character suffering from PTSD can get his life back. This can be seen from how the main character adapts and works hard in a new place for the sake of changing his life for the better. This analysis is also based on the concept of Sublimation from Sigmund Freud. The results of this analysis show that the main character with his efforts was able to regain his life after suffering from PTSD.

Socially accepted violence by “agents of law”: Sublimation of aggression as a model

Abstract The term “Socially accepted violence” refers to the use of physical force in a manner that is perceived as legitimate in certain cultures. The exploration of psychological processes characteristic to those who carry-out such forms of violence must, therefore, take into careful consideration the mutual influences between social constructions and the individual's psyche. This paper proposes a psychoanalytic study of a certain type of socially accepted violence, that which is committed by “agents of law” – members of institutions responsible for the execution of the state monopoly of violence. It examines the potential contribution of the underdeveloped Freudian concept of sublimation – the directing of drive towards a socially valued goal. Ideas by Freud, Elias and Girard regarding the elementary role of violence in social institutions servers to highlight the part of sublimation of aggression in the complex psychology of individuals who carry out socially accepted violence in the name of law.

Towards a Theoretical Approach to the Literature of Resilience

Recent scientific evidence suggests that, despite the pervasive influence of the disease paradigm, healthy reactions to trauma are the norm. Resilience is part of our DNA, since it accounts for our success to survive and thrive in adverse conditions during evolutionary times. Therefore, it comes as no surprise that the theme of survival in extreme adversity has run through countless literary texts. Yet, discussions of resilience have tended to be shunned from the literary theorization of trauma. Given fiction's outstanding capacity to incorporate notions from diverse disciplines, it is not far‐fetched to talk about fictional narratives of resilience. This article takes up E. L. Doctorow's Ragtime (1975) as a case study to test the hypothesis that literary texts may be profitably discussed from the perspective of resilience. In order to do so, it draws both on recent psychological theories of resilience and on the psychoanalytical concept of sublimation to provide some answers about the nature of Ragtime's alternative approach to trauma response. Its main aim is to explore how resilience as a cultural notion may manifest itself at both a thematic and a formal level in literary texts. The ultimate goal is to argue for the existence of what may be termed “resilience narratives.”

明治末期における崇高美の受容 : 洋画家丸山晩霞を中心に(第 49 回美学会全国大会発表要旨)

明治末期における崇高美の受容 : 洋画家丸山晩霞を中心に(第 49 回美学会全国大会発表要旨)

Sublimation and the Übermensch

ABSTRACT The demand for sublimation of one's primitive and “evil” instincts plays a crucial role in Nietzsche's ethics. But prominent misreadings of Nietzsche's concept of sublimation have led to errors in interpreting his view of the highest type of man. I argue that Nietzsche's view of sublimation is that it is the elevation of the objects of a drive through reinterpretation or reimagining them in such a way that the attainment of these new objects achieves a greater potency of expression for the drive while retaining its intrinsic aims. I also clarify the function of sublimation in his ethics.

Sublimação: laço entre arte e clínica

This article departs from my questioning on the clinical vocation of the concept of sublimation and its articulations with the arts. Since Freud, the relationship between psychoanalysis and art is present and it is common that this connection takes place from the concept of sublimation. For this reason, it is important to discern which relations between psychoanalysis and art are legitimate and which are intended only to confirm what is already known, through a distorted use of psychoanalysis. For this, I make use of the difference proposed by Lacan between psychoanalytic treatment and psychoanalytic method, and later work specifically on the concept of sublimation in Lacan. I seek to stress out that the arts are linked mainly to psychoanalysis as a way to expand our clinical approach, since there are artistic productions that show in an almost didactic way how they organize themselves around the empty, thereby alluding to the structure of the subject. Finally, I propose that sublimation in the clinic would be present in two ways: firstly as a result of the analysis which treats jouissance and, on the other hand, as part of the direction of the treatment.

Beyond Discontent: “Sublimation” from Goethe to Lacan by Eckart Goebel (review)

Eckart Goebel, Beyond Discontent: Sublimation from Goethe to Lacan. Trans. James C. Wagner. New York: Continuum International Publishing Group, 2013- xiv + 259 ppEckhartGoebel offers lucid and illuminating explorations of the concept of sublimation in Goethe, Schopenhauer, and Nietzsche, important influences on Sigmund Freud's thinking, as well as chapters on Thomas Mann, Theodor Adorno, and Jacques Lacan, each responding to Freud. The theory of sublimation informs much of the modern discourse on the nature of civilization and art, raising questions about the tensions between the individual and culture, the repression of instinctual drives, the limits of language, along with consequent problems of discontent, pessimism, and the meaning of happiness. Much of this discourse draws on Freud. That said, Freud's own views on sublimation are unsettled and fragmentary, scattered throughout his works. Sometimes he treats as a creative substitution, as in the cases of Goethe and Leonardo; sometimes is a forced renunciation, a struggle to transcend natural drives. At other times Freud treats dialectically as the history of the individual's object-choices. Taking up Freud's admonition that it would be wiser to reflect upon this [sublimation] a little longer (ix), Goebel shows that the notion of sublimation is not so much a single doctrine as a continuing debate on the relationship between the self and nature, the individual and civilization.While a notion of the sublime can be traced back to Plato's Symposium, Goebel begins fruitfully with Goethe's struggle with the tension between passion and artistry as both paradigm and provocation. He focuses on a close reading of the so-called Trilogie der Leidenschaft-An Werther, Die Marienbader Elegie, and Reconciliation-finding in them a pattern that begins with resignation but is then reconceived in terms of the sublime. Unbearable and even destructive desires are resigned to artistic expression; yet in signifying them, the experience of the unspeakable sublime is made possible, and in this lies a source of happiness.Schopenhauer's notion of sublimation grows out of the metaphysical coexistence between our drives and our representations of the world and ourselves. Anticipating Freud, he argues that our sublimated desires are never truly forgotten, merely repressed in an attempt at ascetic mortification. We are left with the consolation of momentarily losing the self in music. Nietzsche shifts the focus to the psychological, distinguishing a false sublimation predicated on ascetic renunciation from a good version aimed at a transformation and intensification of life.Versions of sublimation are central to Nietzsche's ideas on genealogy and metamorphosis. Goebel distinguishes three domains. In the realm of culture, sublimation is the accompaniment of civilization; the Apollonian acts as the sublimation of the Dionysian. In the realm of psychology, opens the concept of genealogy and the unmasking of the layers of desire sublimated in our morality, revealing for Nietzsche the spirituality of cruelty (64). Finally, in the realm of philosomemory, phy, sublimation is about overcoming the dualism between reason and body in a more intensified experience. Focusing on Morgenrothe, Goebel discusses Nietzsche's attempt to integrate the spiritual with the drives in a way that goes beyond discontent to an idea of happiness. …

The British Aesthetic Tradition: From Shaftesbury to Wittgenstein, by Timothy M. Costelloe

Aesthetic Tradition: From Shaftesbury to Wittgenstein, by Timothy M. Costelloe. Cambridge, Cambridge University Press, 2013. x, 350 pp. $99.95 US (cloth). In his ambitious, erudite and elegantly written book, Timothy Costelloe surveys Aesthetics in period between early eighteenth century and second half of twentieth century, dividing it into three ages: age of taste, that of Romanticism, and that of analysis. It ranges from Lord Shaftesbury and his followers to Wittgenstein and his heirs like F. Sibley, A.C. Danto, and G. Dickie. In Preface, author appeals to gracious reader to accept his selection from enormous literature of Aesthetics. selection is indeed arguable--for example, one might wonder at lack of R. Scruton or New Aestheticism in recent age--but here gracious reader also remains ignorant concerning principles of selection. further problems with this book can be briefly grouped around three words of title: British, Aesthetic, and Tradition. Costelloe clearly states that he will confine his interest to British authors--in broader sense of word. In practice this means that he almost completely neglects international context, and some of his casual references to non-Britons are inaccurate, as when he labels J.J. Winckelmann a nineteenth-century classicist (p. 208). Another question also inevitably arises: why does he begin with Lord Shaftesbury? It is easy to find earlier relevant British authors, from J. Scotus Eriugena through Sir Ph. Sidney to some of Cambridge Platonists, to mention a few. Certainly, it may be convincingly argued that work of Lord Shaftesbury, J. Addison, and F. Hutcheson represented a new beginning in (and also European) Aesthetic thinking, but such detailed justification for starting with them is missing here. As for term Aesthetics, author's standpoint is somewhat unclear. Sometimes he speaks of aesthetics, but he never explains how it differs from ancient aesthetics. At other times he refers to philosophical aesthetics, though he frequently speaks about art criticism and poetics, in cases of Wordsworth or Victorian critics. Undoubtedly, it is no easy feat to define or refine meaning of Aesthetics in the age of taste when term was coined and was being elaborated philosophically. However, vagueness with which term is used here undennines whole exposition. Costelloe assumes that the intellectual roots of modern aesthetics are buried deep in soil, and that students and practitioners generally agree that [the Aesthetics'] origins can be traced unequivocally to eighteenth-century philosophers (p. 1). In reality there are several competing models to explain emergence of modern Aesthetics. It has been traced variously to naturalism of Renaissance, or to (sensual) spirit of Baroque, to secularization of religious or mystical experience, to seventeenth-century courtly culture or discourse of cielicatesse, among others. Somewhat inconveniently, only a minority of authors most frequently discussed in these explanations are British. Lord Shaftesbury, who has been almost univocally considered as a key figure in modern Aesthetic discourse, is analyzed here almost exclusively on basis of some paragraphs from his The Moralists (1709). Thus he comes across as little more than an old-fashioned Platonist, who is interested in (Platonic) beauty and whose work touches on new concept of sublime. …

Sublimation: Building or dwelling? Loewald, Freud, and architecture.

Hans Loewald’s understanding of sublimation differs radically from Freud’s use of this term. Whereas Freud saw sublimation as a change of aim, elevating drive-based desire to a higher level of art, for Loewald, sublimation is a process of linking two experiences of reality. I suggest that Loewald’s sublimation combines ideas from his two teachers—Martin Heidegger and Sigmund Freud. Using Heidegger’s terms building and dwelling, I argue that architecture is always a sublimatory product, combining a rational, functional reality of building with a phenomenological experience of inhabiting space and dwelling. I described how this concept of sublimation is useful to understanding architecture, a field that is charged to elaborate the links and boundaries between oneself and others. Buildings are interfaces between our fragile body and the powerful forces of nature, between individual solitude and the social, pulsating metropolis. It is a meditation and elaboration of self-other boundaries. I end by demonstrating how Loewald’s notion of sublimation might be utilized to understand three architectural projects we designed. These projects are based on an underlying, unifying field that is then differentiated to create singular functional and social moments within the building.

Freudian Repetition and Restoration in Sylvia Plath's Life, Art, and Death

This paper analyzes Sylvia Plath's obsession with death as manifested in her life and poetry. Through her overt display of this obsession in many of her critically acclaimed poems, she provides a poignant and compelling case study exemplifying Freud's theory of a death drive which both conflicts and combines with more agreeable, pleasure-seeking life instincts. Because of her writing's aesthetic value and historical importance, her compositions can be seen as an outstanding example of Freud's concept of sublimation: the conversion of antisocial tendencies into positive cultural contributions. However, Plath herself eventually succumbed tragically to the dark forces which haunted her life and poetry. Plath's multiple suicide attempts testify to her real-life compulsion towards death, while her poetry includes both direct references and numerous thinly-veiled metaphors. Notably, the parallels to Freud's theories are more nuanced than simple self-destructive tendencies sublimated into beautiful art. These sublimations also reveal Freud's concept of multiple meanings and include abundant examples of identity transference. She furthermore reaffirms the death drive as something trapped in repetition seeking restoration of a prior undisturbed state. Finally, her poetry explicitly expresses the ambivalent feelings due to such sublimated, overdetermined symbols which unite the contrasting and converging forces of the life and death instincts. Thus, this paper argues that Plath's poetry attests to both general and specific aspects of the psychological conflicts postulated by Freud's theories of co-conspiring antithetical instincts. DOI: 10.5901/mjss.2014.v5n3p618

Pour une interprétation philosophique du sublime dans le théâtre de SchillerDie Räuber; Die Jungfrau von Orleans

The author aims to shed new light onto Schiller’s idea of the sublime, from his theatrical work, specifically the two plays Die Räuber and Die Jungfrau von Orleans. He attempts to show that Schiller’s plays develop his theoretical writings on the sublime, embodying the concept via the staging of the characters and the different acts. Through this literary experiment, Schiller’s idea of the sublime shows its full strength and originality, based on a triple reconceptualization by means of the theatre. This triple transformation is (1) aesthetic, by the reevaluation of the sublime’s relation to beauty, ugliness and the arts; (2) anthropological, by its questioning of the human and heroic experiences of the sublime; and (3) conceptual, in its questioning and redefining the concept of sublime.