Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
A philosophical enquiry into the origin of our ideas of the sublime and beautiful edmund burke
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: A philosophical enquiry into the origin of our ideas of the sublime and beautiful edmund burke
Thesis:
Is the sublime in terror more real than in art?
Chapter 1.
At the beginning of this research it is prudent that we must define the term “sublime” both in a historical sense and by the terms of contemporary art. Historically the sublime theory is related to Burke, Kant, and Lyotard, and their writings. Refering to great philosophers of the 18th century and earlier, we must say that Edmund Burke at his book ”Α philosophical Inquiry into the Origin of Our Ideas of the Sublime and Beautiful” (1757) defines the sublime as “whatever is fitted in any sort to excite the ideas of pain and danger… Whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror”. By provoking great emotions such as terror and excitement to the audience, the sublime according to Burke was a great, infinite or
…show more content…
“On the other hand, Kant in his “Critique of Judgment” (1790) explains further the term by categorizing the perceptual qualities of the sublime. Kant focuses also to the meaning of beautiful and claims that sublime has a contradictory meaning to “beautiful”. Beautiful is non-quantifiable whereas sublime is more infinite and can be found in objects without form. Sublime for Kant is “a presentation of an indeterminate concept of reason”. In addition, the two philosophers basically disagree on the relationship between terror and sublime. Burke argues that sublime arises from terror, whereas Kant says that an object can be sublime without causing fear, connecting the object to the rational mind .During the 19th century the grand painting presented nature and landscapes of greatness, whereas during the ‘70s and ‘80s the expression of sublime became wider as the new media art offered new possibilities. (http://www.tate.org.uk/art/research-publications/the-sublime/rina-arya-bill-viola-and-the-sublime-r1141441Q Rina Arya ). It is important to note
Furthermore, resonation can be found in Preziosi exploration of the establishment of female identification through aesthetics. Within Preziosi chapter on aesthetics he addresses main issues including “Kant’s Critique of Judgment, judgment about beauty, and perception of perfection.” Aesthetics was addressed in the perception of how the female body is formed and encased while a male looks at the female body. In this case the male would be Degas gazing at his ballerina while either sketching his model or doing a sculpture of the ballerina. Preziosi states that “there should be two kinds of theory or sciences of knowledge corresponding to each logic and aesthetics.” This concept of two kinds of theory made more apparent as every sculptor Degas made is presented as a different theory, yet the two theories are different, Degas’s artwork deals with both logic and aesthetics. Logic can be applied to Degas’s____, works of art. Where as aesthetics deals with____. Later on in Preziosi chapter on aesthetics, he brings up the issue of “the idea that sensory knowledge could have its own perfection-and, further, that an aesthetic judgment about beauty or beautiful objects.” When viewing Degas’s sculptor the
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
First, a general theory of the sublime, from the theories of Longinus and Burke, must be established before it can be asserted that Finch participates in the discourse of the sublime in The Spleen. Longinus states that the sublime evokes unrelenting emotion with elevated style and rhetoric(Longinus, On the Sublime). He indicates the five sources of the sublime are when the author exercises grandeur of thought, ...
In "The Intentional Structure of the Romantic Image," one encounters a piece of the twentieth-century discussion of the philosophical considerations of language. One can say that Paul de Man really takes the view of Romanticism akin to that of Martin Heidegger's view of poetry in general. Heidegger states that poetry must be a kind of "speaking being" or the creation of something "new" through language.(Note 1) Language itself stands upon itself in poetry according to Heidegger. De Man picks up the broad discussion of what language is with his discussion of the Romantic image. The main thesis of this essay lies in the difference between the everyday consciousness that one has of the concrete world and the consciousness which one achieves through the Romantic image. De Man says that these two functions of the consciousness differ and that the objects one finds in concrete nature are essentially different from those found in Romantic imagery.
In the beginning, Surrealism was primarily a literary movement, but it gave artists an access to new subject matter and a process for conjuring it. As Surrealist paintings began to emerge, it divi...
In chapter six of the book, the pictorial imagery demonstrates a variety of art forms connoting its realism and diversity of the power of connecting to wealth in contradiction to the deprived in the western culture. The images used in this chapter relate to one another and state in the analogy the connection of realism that is depicted in social statues, landscapes, and portraiture, also present in the state of medium that was used to create this work of art. In fact, some of the works presented depict mythological paintings that resemble the transcending metaphysical matter of nature. Take for instance, the general aspect of the artwork presented in this chapter. They depict different social levels through the use of objects, emotions and various conditions.
From the creation of art to its modern understanding, artists have strived to perform and perfect a photo realistic painting with the use of complex lines, blend of colors, and captivating subjects. This is not the case anymore due to the invention of the camera in 1827, since it will always be the ultimate form of realism. Due to this, artists had the opportunities to branch away from the classical formation of realism, and venture into new forms such as what is known today as modern art. In the examination of two well known artists, Pablo Picasso and Jackson Pollock, we can see that the artist doesn’t only intend for the painting to be just a painting, but more of a form of telling a scene through challenging thoughts, and expressing of the artists emotion in their creation.
Introduction Upon my first encounter with Kandinsky's painting, my eyes and indeed my mind were overcome with a sense of puzzlement, as it seemed impossible to decipher what lay beneath his passionate use of colour and distorted forms. Kandinsky hoped by freeing colour from its representational restrictions, it, like music could conjure up a series of emotions in the soul of viewer, reinforced by corresponding forms. Throughout this essay, I will follow Kandinsky's quest for a pure, abstract art and attempt to determine whether his passionate belief in this spiritual art and his theories on its effects on the soul, can truly be felt and appreciated by the average viewer, who at first glance would most likely view Kandinsky's paintings as simply abstract. Kandinsky was indeed a visionary, an artist who through his theoretical ideas of creating a new pictorial language sought to revolutionize the art of the twentieth-century. Regarded as the founder of abstract painting, he broke free from arts traditional limitations and invented the first painting for paintings sake, whereby the dissolution of the object and subsequent promotion of colour and form became means of expression in their own right.
To begin, he illustrates the notion of the sublime and writes, “Whatever is fitted in any sort to excite the ideas of pain, and danger, that is to say, whatever is in any sort terrible . . . is a source of the sublime” (459). To further delineate the sublime, he states that it is antithetical to the beautiful similar to how black is antithetical to white; just as with black and white, the sublime and the beautiful may be intermingled, but each is most potent when it is pure. Moreover, Burke clarifies that the sublime tends to be large and unpolished whereas the beautiful tends to be small and refined. Additionally, he contends that one may derive pleasure from the sublime through aesthetic distance, which is accomplished through artistic representation; for instance, one can approximate firsthand experience with the sublime by viewing a realistic painting of a ship in a violent storm instead of actually sailing a vessel into a
Max Ernst’s work has several dimensions and characteristics, most notably the dubious character of his illustrated worlds that have contributed to the appeal of the audiences. His prime concern was to present irresolvable isolation. As his father inspired his son a penchant for challenging the authority whilst being interested in painting and sketching nature, Ernst was motivated to take up painting himself. Moreover, he studied philosophy and psychology in 1909 at the Bonn University but also later dropped out. Most notably, during the course he visited an asylum and studied the work of the insane, a study inspired by Freud’s theory of the unconsciousness. This proved to be absolutely crucial in his development as an artist and took many ideas incorporated in Freud’s work and used them in order to identify himself – like other surrealists, he used it...
Munch popularity is due to his extraordinary ability to convey a deep and raw emotion from the unconscious onto the canvas leaving it to the viewers to interpret, feel and reflect. He stood out from other artists of his time, as he varied away from the norms and focused on the feelings and state of the work, rather than details and perfection. Anxiety evolved as the main point of Munch art. This essay goes through Edvard Munch’s childhood focusing on the events that caused him anxiety, how the anxiety affected his relationship with women and love, and how his idea of anxiety was supported by the theories of Søren Kierkegaard. These elements act as a support of an analysis of three of his works ‘Evening on Karl Johan’, ‘Melancholy’ and ‘The woman in three stages’. This essay should be seen as a work within the subject Visual Arts as it analyses three works of Munch focusing on anxiety. The analysis will contain an analysis of the form, content and context of each of the works. Having experienced the Edvard Munch: Angst/Anxiety exhibition at AROS Museum of Art in Aarhus, Denmark, I found and developed curiosity and inspiration to this essay. I find it worthy of a study as Munch changed the view and concept of art, and provided the public with a concept of art that was not the norm around the 19th centu...
1. & nbsp ; & nbsp ; & nbsp ; & nbsp ; & nbsp ; This paper will try to analyze the growth of consciousness of the Lady of Shalott. Ranging from her state of mind in total isolation, her 'childhood', to her changing 'adolescence' and eventually reaching 'adulthood' and death, all in a sort of quick-motion. It will further deal with the development of tension throughout the poem. By making a distinction between tension through formal aspects, such as rhyme scheme, and tension through content, it will try to show the interconnection between both of them. Additionally, the paper will deal with the possible effect of tension on the reader and how the poem might be perceived by him/her.
Edmund Burke was one of the primary Enlightenment figures who wrote on these two topics. In the excerpts from The Sublime and Beautiful, Burke made five descriptions about aspects of the sublime and another eight about the beautiful. His basic point was that beauty is the quality that causes love. This, in turn, makes us need to question what love is. The first distinction that Burke was sure to make was that love is not desire or lust. Desire and lust are “an energy of the mind that hurries us on to the possession of something”. He then proceeds to describe love as “the satisfaction that arises to the mind when you see something beautiful”. Well, based on these two definitions, we have fallen into a sort of circular course of thinking. Beauty equals love, but love comes from seeing something beautiful, then you cycle back to questioning beauty, and so on and so forth. Burke also points out that perfection does not cause beauty. He finally goes on to say that beauty is “some quality in bodies acting on the senses”. As he goes through the rest of the sections that we read through, Burke states and defines some qualities of beauty. He uses words such as smallness, smoothness, and delicacy, as well as explaining the “beautiful” colors and sounds, which are softer colors and sounds without any darkness with them. After taking in all of this from Burke, the final conclusion to be made is that beauty inspires affection and
When I saw Vermeer's Girl with a Pearl Earring about five years ago at the National Gallery in Washington, D.C., I felt something about the painting that I had never felt before when looking at artwork. I felt as if this girl, this young woman in the painting was real, hiding in the museum behind this canvas. She was in the flesh. Her skin was still dewy from three hundred-something years ago, the light across her face still glowing. She was in the round, her eyes followed mine, she was real. She was about to speak, she was in a moment of thought, she was in reflection. This girl was not crimson red or titanium white, she was flesh. Vermeer caught her, a butterfly in his hand. She was not just recorded on canvas, she was created on canvas. She was caught in a moment of stillness. Vermeer creates moments in his paintings. When viewing them, we step into a private, intimate setting, a story. Always, everything is quiet and calm. I realize now it is no wonder I had such a strong reaction to Vermeer the first time I saw him: he is a stillness seeker.
b. This text represents Psychoanalytic criticism. Several assumptions relate back to the belief that the author’s phantasies come from unsatisfied desires and are an attempt to recover childhood pleasure. Psychoanalysis also states that the goal of all behavior is the reduction of tension through release, in accordance with hedonistic principles. Psychoanalytic theory interprets work through the author’s psyche. For instance, Freud highlights childhood development and totalizes literary production as a hedonistic act conducted by the author as a substitute for childhood play. This interpretation relies on the examination of the creator’s unconscious and of the heroes in the creator’s wish-fulfilling world.