<p>Oda kao umjetnička forma, lijepo i uzvi&scaron;eno, razum i ma&scaron;ta, dinamički i<br />matematički uzvi&scaron;eno, uzvi&scaron;enost forme i uzvi&scaron;enost ideje, subjektivizacija uzvi&scaron;enosti, neki<br />su od ključnih pojmova kojima se bavi ovo istraživanje. Međutim, u &scaron;irem kontekstu, ono<br />obuhvata i pojmove individualnog i op&scaron;teg, vječnog i prolaznog, konačnog i beskonačnog,<br />ljudskog i mitskog, ljudskog i božanskog, čovjeka i prirode. Sva ta pitanja, naime, prožimaju<br />se u uzvi&scaron;enim okvirima ode, koja je svojim postojanjem obilježavala najsvjetlije tačke<br />pojedinih epoha i upisivala ih u veličanstvenu hroniku ljudske istorije. Ovaj rad predstavlja<br />osvrt na tu zlatnu hroniku u kojoj će, nadamo se, i na&scaron;a epoha upisati nekoliko stihova.</p> / <p>Ode as an artistic form, beautiful and sublime, reason and imagination,<br />dynamically and mathematically sublime, the sublimity of a form and the sublimity of an<br />idea, subjectivity of the sublime, are some of the key terms of this study. However, in<br />somewhat wider context, it also includes the individual and the universal, eternal and<br />temporal, finite and infinite, human and mythical, human and divine, man and nauture. All<br />these questions are intertwined in the sublime frame of an ode, which, by its own existence,<br />has marked the brightest spots of each epoch and written them in the magnificent chronicle of<br />human history. This work represents the retrospect of that golden chronicle in which our own<br />epoch will hopefully write a few lines.</p>

Nous partons de la présentation de l'oeuvre de Mark Rothko et d’une analyse quirévèle en elle les « risques du sublime », ce qui nous permet alors d’adopter un point de vue esthétique. Attirant l'attention sur l’acte nécessaire du spectateurcontemporain s’il veut découvrir un sens à son expérience des oeuvres d’art, nouscherchons à forger de nouvelles voies de compréhension. La réflexion vise ainsi àmontrer la manière dont le sublime et l’approche apophatique de la mystique peuventnous aider à mieux comprendre l‘attitude nouvelle exigée par la peinture moderne. Il faut comprendre que nous devons nous disposer à (ou pour) l’oeuvre, sans chercher à lui attribuer un sens. Il faut accepter d’être d’abord désorientés et apprendre à reconnaître ensuite d'autres relations possibles entre l’oeuvre et soi-même, pour finir par voir d’un oeil éminemment spirituel. De sorte qu’il s’agit au final d’apprendre à vivre l’oeuvre de Rothko et un certain type d'art contemporain en intégrant des modes nouveaux d’accès à cette peinture, tout en vérifiant une expérience proche du religieux, bien que séculaire. / Using the presentation of Mark Rothko’s work and an analysis unveiling the "risks of the sublime" in it, we advance through an aesthetic approach. Focusing on thenecessary act that the contemporaneous viewer must engage in to find a meaning inthe experience of the paintings; our aim is to forge new ways of understanding. This consideration reveals how the sublime and an apophatic mystic help us understand a new and needed appreciation for modern art. By becoming fully open and available to the painting without searching to assign a sense and accepting to be disorientated at first, we arrive at other possible relationships and we can see with an eminently spiritual vision. Thus, we learn to live Rothko’s works and too, contemporary painting, suggesting new ways of access and evincing an experience that can be religious, while remaining secular. / Partimos de la presentación de la obra de Mark Rothko y de un análisis que nosdescubre los "riesgos de lo sublime" en ella, para tomar después un punto de vistaestético. Dirigiendo la atención al necesario acto que el espectador contemporáneodebe realizar para encontrar un sentido en su experiencia con las obras, buscamosforjar nuevas vías de comprensión. La reflexión, entonces, pretende descubrir cómolo sublime y una mística apofática podrían ayudarnos a entender esa nueva actitudque pide la pintura moderna. Entender que debemos disponernos a la obra, sinbuscar un sentido para atribuirle, aceptando una desorientación primera, para llegar a aceptar otras relaciones posibles y ver finalmente con una visión eminentemente espiritual. Así, aprender a vivir la obra de Rothko y de un cierto tipo de arte contemporáneo proponiendo nuevos modos de acceso y constatando unaexperiencia que pude ser religiosa, aunque secular.

This dissertation examines Shakespeare’s role as the most significant precursor to the Gothic author in Britain, suggesting that Shakespeare used the same literary conventions that Gothic writers embraced as they struggled to create a new subgenre of the novel. By borrowing from Shakespeare’s canon, these novelists aimed to persuade readers and critics that rather than undermining the novel’s emergent, still unassured status as an acceptable literary genre, the nontraditional aspects of their works paid homage to Shakespeare’s imaginative vision. Gothic novelists thereby legitimized their attempts at literary expression. Despite these efforts, Gothic writers did not instantly achieve the type of acceptance or admiration that they sought. The Gothic novel has consistently been viewed as a monstrous, immature literary form—either a poor experiment in the history of the novel or a guilty pleasure for those who might choose to read or to write works that fit within this mode. Writers of Gothic fictions often claim that their works emulate Shakespeare’s dramatic pathos, but they do not acknowledge that the playwright also had to navigate similar opposition to his own creative expression. While early Gothic novelists had to contend with skeptical readers and reviewers, Shakespeare had to negotiate the religious, political, and ideological limitations that members of the court, the church, and the patronage system imposed upon his craft. Interestingly, Shakespeare often succeeded in circumventing these limitations by employing the literary techniques and topoi that we recognize today as trademarks of Gothic fiction—spectacle, sublime, sepulcher, and the supernatural. Each of these concepts expresses subversive intentions toward authoritative power. For Shakespeare and the Gothic novelists, the dramatic potential of these elements corresponds directly to their ability to target the sociocultural fears and anxieties of their audience; the results are works that frighten as well as amuse. As my dissertation will show, these authors use similar imagery to surreptitiously challenge the authority figures and institutions that sought to prescribe what makes a work of fiction socially acceptable or worthy of critical acclaim.

This is a series of daily writings. Each day consists of a new topic and is closed at the end of the day. The ideas presented are philosophical, humorous, rambling, lamentations, incantations, doubt-ridden, aesthetic pep talks which combine into an affective representation of my studio practice’s becoming. There will be little congruency, some stories, and a lot of parallels because that is who I am.

This body of work, representing the past two years, is focused on the idea of the composite landscape. This reconfiguring of the elements from the external world combined with invented places is a way for me to articulate the subtle transactions between the interior psyche and the external world. The way this new conglomerate space is represented is a result of my inquiry into the relationship between nature, culture, and the sublime. The place where the private acts of the studio meet the shared exterior world is where I find my intellect, fantasy, and sense of reality collaborating in chorus.

Cette étude s’intéresse, d’un point de vue sémiologique, à toutes créations théâtrales et plastiques contemporaines ou postmodernes, flirtant avec une esthétique des extrêmes. L’attention est portée sur les signes/significations de productions traitant des limites – à la fois du sujet et de l’art en général. Par le biais de trois monographies d’artistes (Sarah Kane, la Theoria ; Romeo Castellucci, la Poesis ; Wooster Group, la Praxis), permettant une théorie inductive sur la réception de ce type de créations et le sentiment de « Sublime » à l’époque moderne. Ce travail interroge la rencontre à l’art, l’expérience extrême, les effets d’une telle épreuve (au sens physique et intellectuel). / The aesthetics of extreme in contemporary art and theatre are the topic of this essay. Trying to determine what the signs and significations of such objects – dealing with the limits (extreme) of beauty, the codes of art and human creations – are. Three artists are interesting for this study: the British playwright Sarah Kane, the Italian stage director Romeo Castellucci, and the American company The Wooster Group: three way of creating theatre which deals with the aesthetics of extreme. From there, we’ll try to define what is the feeling/idea of Sublime in Modern times and creations. This works interrogates the relation to art (production to reception), the eye of the receptor and the “experience” of art received as a test (or ordeal).

This critical analysis examines the progression and trajectory of my studio practices over the final two years of my graduate career. The pinnacle of my development became a meditation on time and its overall encompassing effects. The mundane and the fantastic are all bound by time. Many archetypes have ventured to escape the clutches of time. Found objects are remnants of time, linking past to present, present to future. Scars and blemishes are also vestiges of time, marking us like scratches on a record. The detritus of our lives defines our time, as it defines us. This thesis will elaborate on my exploration of time and its implications. It will describe works and identify the evolution of concepts from one work to the next. By defining what the work is and how it operates, the analysis will explore the larger implications of that work.

Following the work of Sara Houghton-Walker and Edward Strickland, this thesis theorizes the "mundane sublime" as encountered in romanticist John Clare's poetry. Instead of being oriented upward, as with Longinus's elevatory sublime, Clare's mundane sublime brings the subject downward to earth. While the sublime of the Burkean tradition begins with terror, I claim that the mundane sublime emerges out of love for that which is commonplace. Still revelatory, it may be further characterized by an engagement with ecosystems, eternity, divinity, and nature as a whole. Clare's style scaffolds images resulting in a profusion of detail that arrests the mind and allows it to reflect on its own position in nature. As Clare's mundane sublime takes up simple natural objects and posits an ecological interconnectedness, it implies a more environmentally responsible relationship to one's surroundings, making it increasingly relevant for green studies. / by Dana Odwazny Pell. / Thesis (M.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

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.

The aim of this essay is to examine how Donna Tartt’s The Secret History expresses the sublime experience and what its’ primary function is in the novel. The essay begins with discussing the concept of the sublime through a historical perspective, connecting primarily to Edmund Burke’s ideas and further contrasting them with the feminist criticism of Kristina Fjelkestam. A critical aspect of this study is to examine the notion of terror in the definitions of the sublime and to analyze how Tartt incorporates it into the story by introducing the theme “beauty is terror”, in the beginning of the novel. The essay introduces different techniques used to express this terror, and simultaneously touches upon gothic conventions – such as sublime nature – as well as the postmodern convention of “the unpresentable”, put forward by Jean-Francois Lyotard. This leads to a minor presentation of gothic-postmodernism – a fairly new genre which highlights similarities in the terror experience of the French Revolution and the one we experience from terrorism and media in the modern world. Further, the essay wants to demonstrate how Tartt uses Friedrich Nietzsche’s idea of the Apollonian and Dionysian – how it is concretely embedded in the storyline but also how it functions as a theme throughout the novel, expressing not only a Nietzschean philosophy but also using this dichotomy to further establish a sublime expression.