This master's essay of literary analysis studies the rhetorical notion of the sublime in a number of discourses drawn from the Relations des jesuites de Nouvelle-France, including harangues pronounced by Amerindian leaders, panegyrics, letters of missionaries and dream accounts. In view of models of the sublime proposed by rhetoricians of classical Antiquity, this study shows the close bond which unites ethics and aesthetics in the Jesuit's mind. The criterions according to which the missionaries are affected by the great discourses are considered. This study also emphasizes the influence of the sublime, which provides the impetus for the apostolic vocation and the mystical quest of the Jesuits.

Thesis (Ph.D.) -- University of Western Sydney, 2003. / "Doctor of Philosophy, Visual and Contemporary Arts, University of Western Sydney" Supervisor, Graham Marchant; co-supervisor, Phillip Kent. Bibliography : leaves 214-221.

Also published as author's dissertation--Universität Bonn, 2007/2008. / Includes bibliographical references (p. [227]-236) and indexes.

El objetivo de esta investigación es demostrar que el término sublime es una expresión adecuada para pensar el establecimiento y la suspensión del sujeto.

Pre-cognitive experience is important to Kant's epistemology, but for decades, the scholarship tended to leave this aspect aside. Pre-cognitive experience must be reintegrated, and several important works have made progress toward this goal. Some scholars maintain that the distinction between the A- and B- editions of the Critique of Pure Reason largely relates to the role of pre-cognitive experience in Kant's system. I offer an account of what Kant calls the "obscure functions of understanding," drawing from the third Critique, the Anthropology, and other writings in which Kant discusses pre-cognitive experience. I argue that the key to integrating pre-cognitive experience into Kantian epistemology lies in the proper analysis of sensus communis, or social feeling. Reflective judgment provides the logical structure by which both social feeling and the experience of the sublime come to be synthesized with cognitive experience. The result of my argument is a deepened and enhanced understanding of autonomy (which pervades the entire architectonic).

This comparative project investigates different representations of the sandman between the 19th century and the 20th century. My discussion focuses on Romantic texts, in particular E.T.A. Hoffmann's 1816 literary tale "Der Sandmann." While the traditional scholarship on Hoffmann uses both psychoanalytical and feminist approaches, I show how Friedrich Schlegel's concept of chaos and Jean-François Lyotard's concept of the postmodern sublime help us to understand Hoffmann's complex narrative structure. I argue that in Hoffmann's tale there is no unified sandman figure. However, different storytellers in the tale shape the sandman's various depictions. In a way, the sandman figure becomes a fluid character whose enigma the narrative's structure sustains. Paul Berry's 1991 stop-motion animation "The Sandman" visualizes Hoffmann's narrative. However, the film also reintroduces a unified sandman figure that is characterized by uncanny strangeness. My analyses both of Hoffmann's literary and Berry's cinematographic narrative show that their complex structures allow for ceaseless interpretations. This leads me to conclude that fantastic narratives lend themselves to insightful and critical ponderings.

Cette thèse examine les discours et rapports que Saint-Just a prononcés à la Convention nationale en recourant à lacatégorie de sublime, dans l’acception purement littéraire qui procède du traité du Pseudo-Longin, le Peri Hupsous.La première partie étudie l’ouvrage du Pseudo-Longin et accorde une attention particulière aux développements de celivre portant sur l’éloquence de Démosthène et de Cicéron et sur les passages de l’Iliade comportant des enjeux oratoires.Elle confronte ses leçons à celles des théoriciens de l’éloquence et du style oratoire de l’Antiquité. Le sublime ainsiconçu n’est pas l’instauration d’un rapport avec une réalité transcendance, mais l’effet intellectuel et affectif suscité pardes oeuvres littéraires exceptionnelles.La deuxième partie est consacrée à la brève carrière de Saint-Just comme orateur politique. La théorie et la pratique deSaint-Just ont non seulement été envisagées à la lumière de l’idée de l’éloquence qu’expose le Peri Hupsous, mais aussicomparées aux descriptions et aux analyses de son éloquence proposées par ses contemporains et les écrivainsromantiques. En réinscrivant l’éloquence de Saint-Just dans une conception sublime de l’art oratoire, ont pu être réfutésun certain nombre de préjugés hérités du XIXe siècle et dressé un portrait neuf de Saint-Just orateur.La troisième partie propose une édition diplomatique des discours du Conventionnel et des transcriptions nouvelles deses manuscrits de discours.Les annexes comprennent entre autres une iconographie sur l’éloquence révolutionnaire, un ensemble de lettres etd’arrêtés inédits et un court essai testant la fertilité du sublime longinien pour rendre compte d’une oeuvre contemporaine. / This doctoral thesis uses the category of sublime as defined by the Pseudo-Longinus in his Peri Hupsous to examine thespeeches of Saint-Just pronounced in the National Convention during the French Revolution.The first part examines the Pseudo-Longinus’ treaty and pays particular attention to pages about the eloquence ofDemosthenes and Cicero and the verses of the Iliad having relevance to the art of oratory. It compares its ideas withthose of ancient theorists of eloquence and oratory style. Longinian sublime is not a relationship with a transcendentreality, but the intellectual and emotional effect caused by exceptional literary works.The second part is devoted to the brief career of Saint-Just as a political orator. Saint-Just’s theory and practice have beenconsidered in the light of the idea of eloquence set out in Peri Hupsous. They have also been compared with descriptionsand analyses of his eloquence proposed by his contemporaries and by romantic writers. A number of prejudices inheritedfrom the nineteenth century have been refuted and a new portrait of Saint-Just as an orator drawn by considering hiseloquence from a sublime conception of oratory.The third part is a diplomatic edition of Saint-Just’s speeches. In order to establish them, reports of his speeches inrevolutionary papers have been consulted. Furthermore, this part comprises new transcriptions of autograph manuscriptsof his speeches.The appendices contain, among others, an iconography of the revolutionary eloquence, a set of Saint-Just’s unpublishedletters and orders and a short essay testing the fertility of longinian sublime to describe a contemporary literary work.

Dan Kiley (American, 1912-2004) is one of the most highly regarded modernist landscape architects of the 20th century. As described in Kiley scholarship to-date, his decades-long practice exhibits a commitment to modernism inspired by classical landscape elements and modernist spatial techniques as a means of recreating the experience of a “walk in nature”. An unexamined aspect of Kiley scholarship is his consistent references to infinity in published writing and interviews, references which date as far back as the 1960s and continue into the 1990s, and therefore span much of his professional career. These references to infinity are often used to describe a personal appreciation of nature as well as an intentional approach to design. Through an analysis of these references, literature review of Kiley scholarship, interviews with selected Kiley colleagues, and archival research and site visits of five case studies (Miller Garden, North Christian Church, Fountain Place, Kiley Garden, and Donald J. Hall Sculpture Garden), this thesis examines the way in which Kiley referred to infinity and how he may have expressed infinity in his designed landscapes. This examination is contextualised within the histories of the ideas of infinity and artificial infinity in mathematics, theology, cosmology, art, and design. The history of the artificial infinite is synthesised into an updated taxonomy of expressions of the artificial infinite which is applied for an analysis of the case studies. The five case studies illustrate varying levels of richness and clarity, where expressions of the artificial infinite are spatially distributed and/or layered, connective and/or isolated (horizontally and/or vertically), and clearly expressed and/or interrupted. This analysis of the artificial infinite in the landscape architecture of Dan Kiley deepens our understanding of his design approach, connects Kiley to a longer and broader history of cultural ideas and expression, leads to a more nuanced understanding of modernist landscape architecture in the USA, broadens our understanding of the expression of infinity in landscape architecture, and demonstrates the applicability of an interpretive technique grounded in aesthetic analysis that could be applied to both art and design.

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