Theory Of Sublime Research Articles

Sublimation of a crystal slowed by sorption of foreign molecules from a gaseous medium

Numerical simulation of the sublimation of the surface of an ice crystal has shown that the presence of a non-condensable gas substantially reduces the sublimation rate. It has been found that the slowing of the sublimation due to the adsorption of gas molecules on the crystal surface that fill the vacancies during sublimation prevents the formation of vacancy islands on the surface of the crystal required for evaporation of the surface molecular layer. The available results of studies that explain the slowing of the sublimation by the presence of a diffusion layer formed in the vapor medium near the sublimating surface are supplemented with new data showing that molecular processes on the crystal surface play an equally important role as the diffusion layer. Cases have been found where crystal sublimation is accelerated by the sorption of gas molecules. The obtained results refining the theory of sublimation can be used to develop methods for controlling sublimation.

Julia Kristeva's Voyage in the Thérèsian Continent: The Malady of Love and the Enigma of an Incarnated, Shareable, Smiling Imaginary

Drawing on Julia Kristeva's amorous dialogue with Therese in Therese, mon amour, her third volume on the powers and limits of psychoanalysis (La haine et le pardon), and Cet incroyable besoin de croire, my aim in this essay is to unpack Kristeva's theory of sublimation which, I suggest, Therese helps her elaborate, enrich and complicate. In particular, I focus on Kristeva's foregrounding of the mediating role of language in the sublimatory process and her rethinking of the experience and stakes of sublimation in light of what has been discussed as the central problematic of the baroque: namely, the blurring of the distinction between appearance and reality and the uninhibited celebration of illusion. As I demonstrate, this problematic and Therese's unique response to it are most important for Kristeva since they enable her to raise questions which carry her beyond her previous treatments of sublimation. These questions relate to the amorous source of the imaginary; the dynamic established between idealization and sublimation; the dangers of an unbridled imaginary; the uncomfortable residue of matter and the body; the dialectic between finitude and infinity, unity and multiplicity.

Gewalt und Grazie: Heinrich von Kleists Poetik der Gegensätzlichkeit by Rüdiger Görner (review)

Rudiger Gorner, Gewalt und Grazie: Heinrich von Kleists Poetik der Gegensatzlichkeit. Beitrage zur neueren Literaturgeschichte, vol. 292. Heidelberg: Universitatsverlag Winter, 2011.282 pp.The title of study sums up author's intention to define Kleist's poetic modus operandi as a calculated arc of suspense between poles of Gewalt (in various meanings of power, violence, and force) and Grazie (grace, gracefulness). Dichotomy as a central aspect of Kleist's aesthetics and biography is a longheld truism and descriptions of Kleistian Doppelanlage are ubiquitous (Curt Hohoff's monograph Heinrich von Kleist in Selbstzeugnissen und Bilddokumenten from 1958 comes to mind).Gorner's breezy, lettered style, free of any theoretical jargon, displays an impressive learnedness that roams freely from Aristotle to Adorno and shows great familiarity with Kleist's oeuvre and life. That comprehensive knowledge is fruitfully employed in use of countless relevant citations but also for many chattery details and speculative asides. Oscillating between broad-stroke generalities and minute detaus, Gomer's study nevertheless presupposes that its readers have a fair amount of previous knowledge of late eighteenth-century aesthetic debates.While structural conceit of study-its partition into three parts/acts with an introductory proscenium-seems to gesture toward a dialectical resolution (reinforced by term Auflosungen in title of third part/act), this staging can mostly be viewed as an organizational model for study. The first part (Erster Teil/Akt 1), entitled Aesthetic Constellations, embeds development of Kleist's aesthetic thinking in greater context of contemporary aesthetic-philosophical debate, with special attention to Kant, Schiller, Wieland, and Adam Muller. Muller's universal conception of contrariety (Lehre vom Gegensatz) is presented as philosophical equivalent to Kleist's poetics. Gorner's account is able to trace a few direct influences on Kleist's thinking and poetic method from Kant's theory of sublime, exemplified by concept of negative representation, and from Schiller's variations on Kantian concepts, but Heist's willfully independent and often idiosyncratic transfer of purported intellectual influences makes it hard to determine their exact import. Still, recourse to figures like Schiller and Wieland, combined with an astute depiction of rapidly changing political landscape of early eighteenth-century Prussia, help illuminate central features of Kleist's literary-political project. Wieland's graceful sublation of antagonisms into a cosmopolitan aestheticism demonstrated how gracefulness (Grazie) could serve as a secularized aesthetic equivalent to theologically tinged-grace (Gnade). For Kleist, both aspects continued to figure prominently in his work even after Napoleon's victories over Austria and Prussia turned him into a theoretician of war (F. Kittler) and propagandist of total partisan warfare.Much criticism has lately focused on Kleist's semiotics. The prevalence of metonymy and substitution in Kleist's writings reveals a logic of supplementation that points to impossibility of representational fixity. In this respect, Gorner's discussion of importance of Generalbass (thoroughbass or figured bass) for Kleist's aesthetic theory is very instructive. It convincingly shows how already anachronistic notation system of thoroughbass ideally corresponds to Kleistian semiotics: just as continuo is left to discretion of player and improvised in performance, Kleist's language yields to a contextual unfolding of meaning developed in process of writing, speaking, or reading, a form of calculated improvisational art (kalkulierte Improvisationskunst). Calculating improvisation is not merely the creative response to contingent events (in Edgar Landgraf's words), as exemplified in famous essay Uber die allmahliche Verfertigung der Gedanken beim Reden, but, together with paradoxical, a core principle of Kleist's poetics. …

Institutional Environment, Political Connection and Financial Constraints---Evidence from Private Enterprise in China

On the condition that formal institution of China has not protected the main economic entities especially non-public cases adequately, existed, and it has become a good complement to the formal institution. The majority of non-public economic entities form the political connection with the government actively in various ways, thus it improves their own ability to access debt capital and increases enterprises' value. We make a further refinement of the intensity of political connection in reference to historical research and make a combination of institutional environment, political connection and capital structure. We analyze the relationship between the three from both the and data validation perspectives. Firstly, we review the relevant papers from different angles. Then, we make some hypotheses, select the variables and build models to test the relationship between the three. We use the descriptive statistical analysis, Pearson correlation test, OLS regression testing and some other methods to make inference and proof to the theoretical hypotheses in order to provide quantitative basis for the theory of sublimation. Our research found that the listed private companies in the areas where have lower level of property rights protection and financial development are more likely to form a stronger political connection. The enterprises which have or have a stronger political connection can obtain more bank credit.

Debate on sublime in the end of 18th century: Burke, Kant, Schiller

In the article the authors are examining three positions within the 18th Century aesthetic discussion on the sublime - Edmund Burke's, Immanuel Kant's and Friedrich Schiller's. They are also trying to reconstruct the political backgrounds of each of this theoretical positions: old regime conservatism (Burke), republican liberalism (Schiller) and romantic longing for the 'third way' (Kant). The most sophisticated and mature theory of sublime is found in Schiller's aesthetic works, especially in those following his disappointment in French Revolution, in which the relationship between sublime and paradoxes of historical violence is most thoroughly reflected.

Beethoven After Napoleon: Political Romanticism in the Late Works (review)

After Napoleon: Political in Late Works. By Stephen Rumph. Berkeley: University of California Press, 2004. [ix, 295 p. ISBN 0-520-23855-9. $45.] Index. Stephen Rumph's After Napoleon: Political in Late Works tackles vitally important topic: relation of music to its political context. The pieces that come under consideration include Third and Ninth Symphonies and Fidelia, as well as Egmont music, number of sonatas and quartets, some of Beethoven's patriotic songs and marches, and particularly his Battle 1813, Wellingtons Sieg. As author rightly states in his introduction, a political study of can scarcely be regarded as curiosity for interdisciplinary studies: it belongs squarely within musical criticism, alongside biography, sketch studies, and formal analysis (p. 1). Rumph frames his argument in relation to movement known as politische Romantik (political Romanticism) led by such figures as Schlegel brothers, Novalis, and Heinrich von Kleist. He emphasizes their grievances against French cultural hegemony and their virulent reaction to all things French and enlightened. This of political Romanticism, he claims, was no passing fad for Beethoven but exercised profound and enduring influence on his later (p. 5). There is scant documentation of Beethoven's connection to these writers, and although Rumph acknowledges that his study is speculative, he aims to convey 'new way of seeing' . . . [that] incarnates ideological in specifically musical structures (p. 8). In opening chapters of Rumph impressively draws upon aesthetic writings of Friedrich Schiller, writer whom admired. Schiller's notion of artistic activity as Spieltrieb (play drive) and his famous distinction between naive and sentimental poetry are explored. Emanuel Kant's theory of sublime serves as context for thoughtful comments on Beethoven's treatment of das Erhabene in his song Die Ehre Gottes aus der Natur, Gettert Songs, op. 48. Another influential writer who receives attention here is E. T. A. Hoffmann. Rumph is particularly interested in Hoffmann's famous critique of Fifth Symphony 1810, in which Beethoven's music is regarded as revealing unknown kingdom, that has nothing in common with outer sensory world (p. 9). Rumph's strategy is to invert Hoffmann's view. He seeks to show that Beethoven's late works represent kingdom that is very much of this world, one that actually reflects reactionary turn in politics of post-Napoleonic Europe. Such an argument has originality, and goes against grain of much scholarship. Rumph admits that the young embraced an ideological view diametrically opposed to ethos of political Romanticism (p. 35). Nonetheless, he sees decisive shift in Beethoven's attitude beginning in 1809, when Napoleon's armies besieged and occupied Vienna. Rumph finds that Beethoven's letters from 1809 to 1813 trace an unbroken arc of resentment, in which pins full blame for his economic vicissitudes on war with France (p. 96). Against this historical background, Rumph sets forth main point of [his] entire book, namely that the same ideology that shaped Beethoven's late style helped create Restoration (pp. 106-07). A key work to address in this context is surely Beethoven's only opera, Fidelia. Unfortunately, Rumph does not investigate thoroughly some aspects of opera that do not conform to his thesis. Fidelia is closely bound up with French models and Enlightenment ideals, and its extensive final revision took place in 1814, several years after Rumph sees as having renounced these principles. While he acknowledges that Leonore wears pants in this opera of conjugal love (p. 164), he does not recognize her full importance as symbol of liberty, which was enhanced unforgettably in section added to Florestan's aria in revision (a passage influenced in turn by Egmont's vision of Clarchen in Egmont music, 1810). …

Philosophy and Sublimation

Cornelius Castoriadis's theory of sublimation is not only innovative within the Freudian tradition, but opens up the domain of inquiry as to society's process of radical social institution. Sublimation is indeed socialization, not merely aesthetic cathexis. A specific sort of sublimation that may be said to mobilize the project of autonomy is linked to philosophy both because it is implicated in a process of interminable interrogation, and because it involves the psyche's practical and poetic engagement with the creation of new imaginary forms. Philosophy's task, in this sense, is to consider thought from the standpoint of the unthought, a daring task that cannot ultimately take place without one's fully-fledged acceptance of one's own finitude.

"Frankenstein" with Kant: A Theory of Monstrosity, or the Monstrosity of Theory

The sort of interrogation I am proposing is neither philosophical nor literary but something in between these two. On one hand, it is a testing out of shifting boundary between philosophy, personified by Kant's Critique ofJudgment, and literature, represented by Shelley's Frankenstein; on other, it investigates what rebounds from these two texts: what comes back, or returns. If as Deleuze says, have Critique of Judgment as foundation of Romanticism, perhaps Frankenstein is already encased in and anticipated by Kantian theory.' Correlatively, perhaps these texts, each inverse of other, predict and possibly even determine shape of theory in late twentieth century. If we are heirs of Frankenstein and third Critique-as much read by them as readers of them-what have we inherited, to whom are we indebted, and what are our debts? My thesis is that Victor Frankenstein's Monster is third Critique's heir, and that we are its inheritor. First I argue that, in a philosophic register, Kant's depiction or construction of sublime simultaneously portrays and defends itself against monstrosity; second that, in a literary register, Frankenstein makes explicit and dramatizes what Kant's analytic contains but cannot say, demonstrating that shape of sublime, which fulfills metaphysician's desire, is precisely that of monstrosity; and third, that Shelley's Frankenstein and Kant's Critique ofJudgment together predict form of contemporary theory-the as yet unnameable which is proclaiming itself in terrifying form of monstrosity, as Derrida said when he brought Deconstruction (sometimes described as the French plague) to Baltimore in 1966. Through investigating ways in which these two texts mutually inhabit and enact each other, I suggest that Kant's theory of sublime is not only a form of monstrous but also a figure for theory as such-perhaps even paradigmatic form of it, and that theory in turn is itself monstrous or Frankensteinian. The romantic vision of future

Empire and sexual opportunity

[The article thus entitled first appeared in the Journal of Imperial and Commonwealth History in January 1986 (vol. 14, no. 2). It was not well received by feminists and others who found it did not conform to their own concerns about gender, racial and patriarchical domination, or emerging ‘queer theory’. A debate was conducted with Mark T. Berger in the pages of the Journal in 1988: ‘Imperialism and sexual exploitation: a response to Ronald Hyam's Empire and sexuality ’, and my ‘Reply’ (vol. 17, no. 1). Two years later I published Empire and sexuality: the British experience (Manchester University Press). This was also criticised for being ‘undertheorised’, which was disappointing, as I had attempted to develop a ‘surplus energy’ theory of imperialism (however inadequate), and had written a good deal about the interpretation of sexuality, the theory of sublimation, and my own concept of the ‘parergal’ character of sexual activity. In the 1990s there were two review articles about my work: (1) by Margaret Strobel, ‘Sex and work in the British empire’ ( Radical History Review , vol. 54 (1992), pp. 177–86), and (2) by Richard A. Voeltz, ‘The British empire, sexuality, feminism, and Ronald Hyam’ ( European Review of History/Revue Europeenne d'Histoire , vol. 3, no. 1 (1996), pp. 41–5). Voeltz amusingly demonstrated the ambivalence of a body of work which could be regarded both as a radically subversive critique of empire, and as phallocentric imperialist apologetics; he concluded, however, that evaluating my view of the subject ‘remains a daunting proposition’. […]

Transient phenomena in the sublimation of cadmium sulfide

New results on transient effects in basal-surface sublimation of cadmium sulfide and on sublimation morphologies of its basal surfaces are presented and discussed in terms of the terrace-ledge-kink theory of sublimation. In this context, various mechanisms for the stepwise sublimation of II-VI compounds are reviewed. The results are shown to be consistent with activation control of sublimation at the kink sites as influenced by surface charge.

Mass transfer at low pressures

AbstractData are reported for the evaporation of spheres of naphthalene into air, helium, carbon dioxide, and Freon‐12, and of liquid diethyl adipate into air at pressures from 0.1 to 3,000μ Hg and at Reynolds numbers from 0 to 1.37. By use of suitable values of the surface‐evaporation coefficient and the assumption of additivity of surface evaporation and diffusional resistances, the data are well correlated. The results lend semiquantitative support to the theory of sublimation of crystals developed by Stranski.

A Psychological Theory of Artistic Creation

Although the projective schools of psychology have contributed much to the study of the artist and his work, we still have come little closer, despite their efforts, to obtaining an explanation of artistic creation that is any more satisfying than the vague Socratic dictum of “poetic madness.” With the advent of the psychoanalytic school, at the turn of the century, the artist seemed about to give up his secrets to an inductive analysis of human behavior; but so uncritically did the orthodox analyst accept the theory of sublimation, that in the end we were left with the artist's genealogy instead of gaining what originally promised to be a richer interpretation of his creative method. The experimentally minded psychologist, for his part, still views the artist's inspired moments with misgiving and disdainfully passes it off as an unsuitable project for the laboratory because of its elusive nature. Were we to study the diary notes, letters and biographies of the artists for clues to the creative process, we would find that their degree of subjectivity makes much of what they said open to question. Perhaps, if we were to synthesize the views which the philosophers, the psychologists and the artists have expressed on the creative process, we might yet arrive at a theory of art creation that would help to unravel the enigma of why the artist creates.

A Psychological Theory of Artistic Creation

Although the projective schools of psychology have contributed much to the study of the artist and his work, we still have come little closer, despite their efforts, to obtaining an explanation of artistic creation that is any more satisfying than the vague Socratic dictum of “poetic madness.” With the advent of the psychoanalytic school, at the turn of the century, the artist seemed about to give up his secrets to an inductive analysis of human behavior; but so uncritically did the orthodox analyst accept the theory of sublimation, that in the end we were left with the artist's genealogy instead of gaining what originally promised to be a richer interpretation of his creative method. The experimentally minded psychologist, for his part, still views the artist's inspired moments with misgiving and disdainfully passes it off as an unsuitable project for the laboratory because of its elusive nature. Were we to study the diary notes, letters and biographies of the artists for clues to the creative process, w...