Theory Of Sublime Research Articles

ON THE THEORY OF EVAPORATION REFINING

The theory of sublimation and distillation refining, which takes into account the diffusion of impurities, is considered. The conceptual nature of the theory is noted due to the large number of parameters whose values are unknown.

Sublimation and drives in sports: a psychoanalytic perspective

ABSTRACT In continuation with my on-going research and presentations on sport as a field of channeling and externalizing cruelty and violence, as a field of transfiguration of drives, in this paper I will examine instincts, drives and sublimation in Freud and post-Freudian psychoanalytic literature within the context of sports. Freud was influenced by Nietzsche on his drive theory; however, in Freud it assumes a specific meaning and finds its place within the context of his overall psychoanalytic work, especially in relation to his second topology of the human psyche that consists of id, ego and superego and his theory of sublimation. Ultimately, Freud reduces all drives to Eros and Thanatos and explains their workings in relation to the constitution of the psyche. Sublimation has a direct correlation to drives, which is a culture/individual specific way of treating and channeling drives; sublimation also has much to do with suffering and how we deal with suffering (and other emotions as I discuss in my book, Emotion in Sports). What I would like to explore in this paper is to understand in what ways sport is a form of sublimation and how sport may address the subject of drives, both Eros and Thanatos. Since Freud sees both of these drives as bound together in many contexts, does sport constitute one of those areas? What type of psychic constitution does the sporting culture assume? Or, to put it differently, what are the dynamic relations of the different parts of the human psyche, the id, the ego and the superego, in the practice of sport and in the community of sports? Here and elsewhere, in agreement with Jung, I will include discussion of ‘collective unconscious’, as I explore the significance of symbols of sport in the life of individuals and cultures.

The object in question in Lacan’s theory of sublimation

O conceito de objeto e o lugar que ele ocupa na constituição subjetiva do ser falante são aspectos fundamentais na teoria lacaniana. A partir do axioma “a sublimação eleva o objeto à dignidade da Coisa”, formulado por Lacan em seu seminário sobre a ética da psicanálise (1959-60), este artigo visa precisar como o autor situa o objeto e sua relação com das Ding (a Coisa) no campo da sublimação. Para isso, considera-se que em todas as formas criadas pelo homem que procedem do registro desse destino pulsional o vazio é decisivo.

Feeling Like It: A Theory of Inclination and Will

<i>Feeling Like It: A Theory of Inclination and Will</i>

Estetiğin Etik Dönüşü: Jacques Rancière’in Jean-François Lyotard Eleştirisi

Jacques Rancière contents that especially after 1990, Jean-François Lyotard caused a deviation in politics and art that can be expressed as an "ethical turn". According to him, Lyotard leads politics to an ethical turn by absolutizing dissensus as a wrong (tort) or disaster; and by reducing aesthetic experience to the status of sheer witnessing the unrepresentable he leads also arts to an ethical turn. The present article shall discuss only the ethical turn of aesthetics. From Rancière's point of view, the problem in the field of aesthetics and art today is that the political nature of the aesthetic field, which is essentially political and intellectual, has been reduced to ethics and on this occasion its political capacity has been taken away. Rancière explains the formula of this reduction, which he thinks Lyotard have applied, as combining aesthetic autonomy with Kantian moral autonomy through Kant's theory of sublime. This study shall address first Rancière’s claims and focus on how the aforementioned ethical turn in aesthetics and art took place and then in the last section shall try to evaluate the legitimacy of the allegations by also addressing the criticisms made against Rancière in particular for his criticism of Lyotard.

An Analysis of the Lady of the Camellias from the Theoretical Perspective of Longinus' on the Sublime

The ancient Greek writer Longinus introduced the word "sublime" into the aesthetic category in his article the age of hepsus, and put forward five sources of the sublime style. Judging from the writer's writing style, "La Traviata" embodies Dumas' lofty thought from the analysis of the characters in the work, the heroine Margaret exudes a noble spirit. This paper attempts to analyze the sublime thought in Camellia from the perspective of langinus' theory of sublime, so as to analyze Dumas' view of the sublime, as well as to provide a philosophical theoretical paradigm for the analysis of Dumas' literary works.

Technika i pragnienie w dobie automatyzacji. Od Marcusego do Stieglera

This paper describes the relationship between technics and desire in light of Bernard Stiegler’s new critique of political economy. The starting point for the analysis is Stiegler’s critique of the reinterpretation of Freud’s legacy by Herbert Marcuse in Eros and Civilization. The context of the analysis is the ongoing mutation of consumer capitalism into computational capitalism—one in which automated calculation systems are used to control all forms of mental and affective human activity. Digital automatization, I argue, encourages a different view of what Marcuse called “the automatization of the superego.” It also requires us to rethink to what extent desire is conditioned techno-logically beyond the limits of Marcuse’s critique of Freud, capitalism and technology. The article pays special attention to Stiegler’s reinterpretation of the theory of sublimation in relation to contemporary capitalism and its technological infrastructure (from television to digital platforms). It is also an attempt to include the question concerning technology in psychoanalytic thinking.

A study on The Sublime of Barnett Newman's Works focusing on Edmund Burke's theory of sublime

현대미술의 숭고미를 디자인 분야의 시각적 자원으로 활용하기 위해서는 현대미술의 미학적 성격을 연구할 필요가 있다. 에드먼드 버크는 숭고를 아름다움 보다는 위대한 거대한 감정이라고 하였고, 숭고를 두려움과 공포의 혼합이라고 생각하였다. 버넷 뉴먼은 ZIP, 평평한 색면, 기하학적 조형원리와 작품의 압도적 크기를 활용하여 숭고미를 표현하였다. 본 연구에서는 가장 구체적으로 숭고의 범주를 제시한 에드먼드 버크의 숭고론을 이용하여 버넷 뉴먼의 작품을 분석하였다. 분석을 위한 숭고의 범주로 불분명함, 광대함, 무한함, 색과 빛을 사용했다. 분석의 결과 버넷 뉴먼의 작품은 에드먼드 버크의 숭고론에 부합되는 것으로 보인다. 이러한 연구의 결과는 회화와 디자인 분야에서 숭고미를 표현하는데 활용될 수 있을 것이다.In order to use the sublime of contemporary art as a visual resource in the field of design, it is necessary to study the aesthetic nature of contemporary art. Edmund Burke called the sublime a great grand emotion rather than beauty, and he considered sublime to be a mixture of fear and fear. Burnett Newman used ZIP, flat color field, geometric molding principles and the overwhelming size of his work to express the sublime. In this study, Burnett Newman s work was analyzed using Edmund Burke s sublime theory, which most specifically presented the category of sublime. It was a category of sublime for analysis, using obscurity, vastness, infinity, color and light. The analysis shows that Burnett Newman s work appears to be in line with Edmund Burke s sublime theory. The results of these studies could be used to express the sublime in painting and design.

Jens Weitkamp's Joy of Thinking

AbstractWith the evocation of Jens Weitkamp's life and character this paper tackles from the psychoanalytic theory of Sublimation (Sublimierung) the nature of the specific pleasure taken by researchers. They realize passionately their own driving forces but thus indirectly contribute to culture and progress of humanity. Any sublimated drive to knowledge is based on the acceptance that knowledge always implies simultaneously a future knowledge to be. This specific pleasure is based not on sexual abstinence as stated by Freud but on the renunciation to a stable security, enjoying a mobile order instead of fixity. Nevertheless, the sublimatory derivation that ensures the transition from destructiveness to exploratory curiosity is conditioned by the ability of the researcher not to destroy the object but only its enigmatic character.

МОДЕЛЮВАННЯ ЕЛІОННО-ІНДУКОВАНОГО РОЗПИЛЕННЯ (СУБЛІМАЦІЇ) РЕЧОВИНИ

Представлена задача моделювання еліонно-індукованого розпилення (сублімації) речовини. Еліонними технологіями прийнято називати технології обробки речовини пучками частинок (іони, нейтрони, електрони і фотони). Наведено короткий огляд відповідних експериментальних даних. Обговорено шляхи пошуку створення універсальної теорії для пояснення цих експериментальних даних. Описано порівняльний аналіз термодинамічної теорії, фізико-хімічних моделей та фотоіндукованої теорії сублімації. Показано, що проблему лазерно-індукованої сублімації можна представити як поверхневе розпилення речовини. Тому також аналізуються проблеми іонного та електронного розпилення речовини. З фізико-хімічної точки зору процеси сублімації та рорзпилення мають однакову природу. Основна різниця між індукованою лазерно-індукованим та частинково-індукованим розпиленням (сублімацією) полягає в характері взаємодії заряджених масивних частинок і фотонів з речовиною. В обох випадках ми маємо критичне значення потоку відповідних частинок. Так, для іонної імплантації атомізація поверхні починається з флюенсу 3·1018 см-3. Для електронів це значення на 2-3 порядки більше. Нейтронне опромінення має велику проникаючу здатність і процеси розпилення матеріалу характерні для ядерних і термоядерних реакторів. Для лазерного випромінювання велику роль має ланцюговий процес насичення збудження відповідних хімічних зв'язків. Для моделювання були обрані методи радіаційної фізики твердого тіла, релаксаційної оптики та незворотної термодинаміки. Іонне розпилення відбувається при опроміненні великими дозами іонів. Велике значення при цьому має коефіцієнт розпилення опроміненого матеріалу. Виходячи з цього приведена фізико-хімічна модель, яка дозволяє описати процеси іонного розпилення одне і двоатомних матеріалів. Для моделювання лазерно-індукованої сублімації була використана каскадна модель збудження відповідних хімічних зв'язків в режимі насичення збудження. Проведено порівняльний аналіз з термодинамічною теорією сублімації. Показано, що термодинамічний енергетичний поріг сублімації становить 0,4 значення від енергії Зейтца. Наведено оціночні розрахунки для кремнію, германію та стали.

Study of the degradation of beeswax taken from a real artefact

Abstract This study is devoted to the statue of St. Ursula from the depositary to the Slovak National Museum–Cervený Kameň Castle. It is a heavily damaged, slightly under life-size seated female statue from the 2nd half of 19th century. The artefact is very heterogeneous and degraded. The wax parts have been examined with the aim of detecting and quantifying degradation products using FTIR spectroscopy, Py - GC/MS analysis and DSC measurement. The results obtained were compared with the degradation studies from available literary sources. The most important achievement is that the results support the theory of sublimation of n-alkanes from beeswax during ageing. The degradation mechanisms taking part during ageing are hydrolysis and oxidation. The suggested methods of accelerated ageing could be a suitable simulation of natural ageing. The experimental methods employed are complementary and enable to follow the progress of beeswax degradation.

숭고와 자기보존의 미학 탐구 : 버크와 칸트의 숭고론에 기초하여

숭고와 자기보존의 미학 탐구 : 버크와 칸트의 숭고론에 기초하여

Terror and Self-preservation of Life - Focusing on the contextual Meaning of Burke’s Sublime Theory and Kant’s Sublime Theory -

This study suggests that terror is the theoretical basis of sublime for the qualitative enhancement of the self-preservation of life, Based on the proposition that Terror is the dominant principle of the sublime, . In addition, this study has the purpose of searching and critically examining the grounds in the contextual flow of Burke’s Sublime Theory and Kant’s Sublime Theory. First, I will examine the similarity and specificity of Burke’s sublime and Kant’s sublime on how the theory of sublime is established by paying attention to the relationship between the sublime of powerful nature and our mind. Second, Based on a consideration of the theoretical context of Sublime Theories of Burke and Kant, this study will draw practical meaning to overcome the moments of extreme crisis of life such as the helplessness of life and the impulse of suicide stemming from feelings of fear today Third, we will critically examine the limitations of the anthropocentric perspective that basically has the Sublime Theory Burke and Kant. Furthermore, on an alternative basis, This study will present the meaning and value of self-preservation of life beyond self-preservation of human.

Sublime borders: modernism, music and the negative

“After the fall of formal beauty, the sublime was the only aesthetic idea left to modernism” (Adorno 1997: 197). Positioning at its core the category of the sublime, the modernist aesthetic famously engenders a problematic relationship between music – characterised as an autonomous, self‑relating agent of nonrepresentational negativity pursuing on its own terms a powerful critique of the Western metaphysic of presence – and its embeddedness in cultural contexts. At its most radical, like in Lyotard’s aesthetic, music’s ‘immaterial matter’ becomes a traumatic, ‘in‑human’ Otherness, a sublime, otherworldly sound-event, “which is not addressed […and] does not address” (Lyotard 1991a: 142). The musicologist Susan McClary recently highlighted how in the last few decades a new generation of composers has arisen, which by still drawing on the modernist tradition nonetheless engages more directly with signification and the cultural inscription of music. On this basis McClary calls for rehabilitating the allegedly feminine category of the beautiful, thus relocating music’s essence within the anthropological boundaries of pleasure and opening it for cultural diversity and contextuality. Yet, is the beautiful the more apt category for aesthetically framing this artistic development? As Catherine Belsey has pointed out, the specific twist at the core of Žižek’s philosophy consists in its conflating Lacan’s psychoanalytical theory of sublimation with Kant’s concept of the sublime (Belsey 2005: 141). Žižek’s sublime object thus intermingles not only pleasure and pain but also the absolute negativity of the Lacanian Real and the positive features of its cultural inscription. In my paper I explore the potential this theoretical frame offers for reading these recent artistic developments neither in terms of a domesticated modernism nor as a return to the aesthetic category of beauty as a culturally embedded fit between form and content. Instead, I will propose that we read them as the exploration of a specific, twisted space at the crossroad of the ‘meaningful’ positivity of culture and that ‘sublime’ negativity that the modernist aesthetic sees as the nonrepresentational essence of music.

SIGMUND FREUD, SUBLIMATION, AND THE RUSSIAN SILVER AGE

Freud's most sustained account of the power of sexual sublimation to fuel scientific and artistic genius is found in hisLeonardo da Vinci and a Memory of His Childhood, published in 1910. This article argues that Freud chose Leonardo as the perfect example of sublimation because of his close reading of the then quite popular historical novelLeonardo da Vinci, written by a poet and author of the Russian Silver Age, Dmitrii Merezhkovskii. The central point of Freud's theory of sublimation, that sexuality is at the root of human knowledge and creativity, is developed by Merezhkovskii, but from the religious-philosophical perspective of Silver Age symbolism. Freudian sublimation, as a psychological theory, was developed in dialogue with a Russian religious understanding of Eros and its power. Freud essentially rewrote Merezhkovskii's story of Leonardo, reducing Merezhkovskii's philosophy of Eros to the more “scientifically” grounded theory of sexual sublimation.

Meremotiiv üleva pildikeeles: paari näitega eesti luulest

The article begins by explaining the background of sea motifs, which can be understood as sublime in the classical theory of arts, beginning with Pseudo-Longinus and continuing with Boileau and Burke, and the re-visitation of Aristotelian theory by the latter. This part of the article focuses on the observations of grandeur, dramatic change and danger in nature, which were defined as sublime in antiquity (based on examples from Homer and Genesis in Longinus or the Gigantomachy motifs in ancient art), as well as on the role of emotion (pathos) in the Sublime. The Renaissance and Early Modern Sublime reveal the continuation of these trends in Burke’s theories and the landscape descriptions of Radcliffe in the Mysteries of Udolpho. In the latter, we also see a quotation from Beattie’s Minstrel, whose motif of a sea-wrecked mariner represents the same type of sublime as Wordsworth’s Peele Castle (which, in its turn, was inspired by a painting by Sir George Beaumont). This sublimity is felt by human beings before mortal danger and nature’s untamed and excessive forces. In German poetry and art such sublimity can be seen in the works of Hölderlin or Caspar David Friedrich. However, 16th and 17th century poetry and painting rarely focused on such sublimity and preferred the more classical harmonia discors, in which ruins or the sea were just a slight accent underlining general harmony.The article continues, focusing on the sea motifs in Estonian art and poetry. In Estonian art (initially created by Baltic Germans), the reflections of the magnificent Sublime in the paintings by August Matthias Hagen can be seen as the influence of Caspar David. In poetry, we see sublime grandeur in the ode called Singer by the first Estonian poet, Kristjan Jaak Peterson, who compared the might of the words of future Estonian poets to stormy torrents during a thunderstorm, in contrast to the Estonian poetry of his day, which he compared to a quiet stream under the moonlight. The grandeur, might and yearning for sublimity is reflected in the prose poem Sea (1905) by Friedebert Tuglas, who belonged to the Young Estonia movement. This movement was more interested in modernity and city life than in romantically dangerous or idyllic landscapes. However, the main trends of Estonian poetry seem to dwell on idyllic landscapes and quietly sparkling seas, as for example, in a poem by Villem Ridala or sea landscape by Konrad Mägi. We also see this type of sublimity at the end of the 20th and beginning of the 21st centuries in the soundscapes of the sea by Ester Mägi or paintings by Aili Vint.After World War II, the influence of the romantic ode genre and sublime can be seen in a translation of Byron’s Stanzas for Music (1815) by Minni Nurme (1950). In Byron’s gentle, sweet and serene picture of a lulled and charmed ocean, the underlying dimension of the divine, and the grandeur and power of the music is not expressed explicitly. Nurme tries to bring the translation into accord with the ode genre, thereby causing a shift from the serene to the grand sublime, by focusing on the depth of water and feelings, the greatness of the ocean, and most of all, the rupture of the soul, which has been the most important factor in the sublime theory of Pseudo-Longinus. Her translation also seems influenced by her era of post-war Soviet Estonia (so that Byron’s allusions to the divine word have been replaced by the might of nature). In the same period, Estonia’s most vivid description of the romantic sublime appears in the choral poem Northern Coast (1958) composed by Gustav Ernesaks, with lyrics by another Estonian poet, Kersti Merilaas.Coastline in a leap, on the spur of attacking; each other tightly the sea and the land here are holding The rocky banks, breast open to winds, are hurling downwards the pebbles and chunks. Its adversary’s waves now grasp for its feet, gnawing and biting into the shores. Stop now! No further from here, neither of you can proceed any more! Full of might is the sea, more powerful is the land.

On sublimation

Translations of summaryAlthough it encapsulates the Freudian theory of art, the theory of sublimation has become outmoded. What is more, since its inception there has always been something ill‐defined about it. Does it use sexualized or de‐sexualized drive energy? Is it a defence or an alternative to defence? Does it serve Eros or Thanatos? Is it useful in clinical work or is it unusable? The only, albeit uncertain, aid to a definition relies on the extrinsic criterion of concrete artistic realization. My aim here to revisit and possibly ‘reinvent’ sublimation in the light of certain principles of the pre‐Romantic aesthetics of the sublime. Both are theories of spiritual elevation, in other words, elevation that moves towards abstract thinking, and of man's ‘moral’ achievement; and both attempt to explain the mystery of aesthetic experience. On the one hand, the aesthetics of the sublime offers a modern myth that helps us articulate a series of factors occasionally referred to by various authors as constitutive of sublimation but which have not been incorporated into a single organic framework: loss and early mourning work; the earlier existence of a catastrophic factor – to be regarded, depending on the situation, as either traumatic or simply ‘negative’; the correspondence with a process of somatopsychic categorization which coincides with subjectivity. On the other hand, it also helps us grasp the experience of negative pleasure empathically, living it ‘from the inside’.

The Art of Redundancy: Sublime Fiction and Mary Shelley’s The Last Man

Since its publication in 1826, critics have disparaged Mary Shelley’s The Last Man as a bad copy of a tired theme. To the contrary, I argue that Shelley was well aware of the place of her work within the discourse of Lastness that had become so popular during the first quarter of the nineteenth century. Shelley made explicit reference to the fact that her novel was a late contribution to the robust discourse on Lastness. She drew attention to the ways in which the concept of repetition is, ironically, pervasive to this discourse. And she intentionally situated Lastness within nineteenth-century aesthetic theory, still widely inflected by Edmund Burke’s theory of sublime. Shelley’s novel explores the limitations of Burke’s theory, which relies upon the concept of art as repetition to establish the necessity of critical distance for a properly sublime experience. The novel re-envisions repetition as a concept that dissembles Burkean critical distance and the hierarchy between the real and the fictional on which it depends. Both a critique of Romantic aesthetic discourse and a major contribution to it, Shelley’s Last Man refigures aesthetic experience, critiquing the limitations of Burke’s sublime without vitiating the potentiality for sublime fiction.

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. …

Beyond Burke’s Precedent and Back Again: Longinus and the Romantic Sublime

This essay treats the relationship of Longinus’ Peri Hypsous to the history and criticism of sublime theory. Canonical narratives of the sublime suppress Longinus, reading Burke’s Enquiry as developing a theory of the sublime that is wholly new, without precedent. This essay puts Burke’s Enquiry into relationship with Longinus’ treatise in a manner that does not take for granted either Burke’s originality or Longinus’ obsolescence. By analyzing the theories of Burke and Longinus at a remove from the operative hierarchies and oppositions that have determined their relative value and meaning over nearly 300 years, this essay uncovers some of the complex ways that reception has ensured these very hierarchies and oppositions. Rather than the progressive model on which the canon of the sublime has for so long been staked, this model of intellectual entanglement is more attentive to the overlapping publication histories of Burke and Longinus on the sublime. The Peri Hypsous emerges as a treatise crucial to Romanticism as well as our present moment with regard to the theory of concepts as fundamental as originality, nature, art, and modernity itself.