commensurate
发表于 2025-3-23 12:29:21
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MOCK
发表于 2025-3-23 14:09:28
,Touchstones for Sublimity: Coleridge’s , (1816–17) and the 1818 Lectures on Literature,and weak politics to define the distance his later prose must go for the reform he desires. In two lectures on the Middle Ages (1818), including his oft-quoted scene in a Gothic cathedral, Coleridge’s invocation of the sublime signals a more heterogeneous symbolism that cracks the mould of symbol as
gorgeous
发表于 2025-3-23 21:31:28
,Sublime Boundaries of Belief and Unbelief: Coleridge’s , (wr. 1824) and Julia Kristeva’s , (2006),ination of psychoanalysis, Christianity, and agnosticism. Otherwise her sense of the “semiotic” informs a sublime discourse neither symbolic nor sublime in Coleridge’s senses, yet reminiscent of Coleridge’s transition in his lectures away from symbolism and towards a more expansive sublime. Thus Kri
量被毁坏
发表于 2025-3-23 22:51:46
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Pert敏捷
发表于 2025-3-24 03:44:24
,Sublime Politics: Coleridge’s , (1829) and Jacques Rancière’s , (2011),croppers in the American 1930s. In spite of Rancière’s expressed aversion to the sublime, his discourse is sublime in effect. Contrasts with Coleridge’s metaphysical care with symbol and Idea highlight the relative conceptual looseness of Rancière’s “symbol,” “spiritual,” and “material” and his trea
Intact
发表于 2025-3-24 09:08:03
,Conclusion: The Sublime in Coleridge, Kristeva, Adorno, and Rancière,the problem of yoking abstract reasoning or conceptualizing with a sublime aesthetic that challenges and exceeds articulation. This section focuses on what Rancière calls his “intellectual anarchy”: his rejection of received views and the conceptual dispersion in his scenes. The chapter concludes on
Jingoism
发表于 2025-3-24 13:02:02
itics in the sublime theory and practice of this central Romantic author and three of his important successors: Julia Kristeva, Theodor Adorno, and Jacques Rancière...978-3-031-25529-8978-3-031-25527-4
荣幸
发表于 2025-3-24 18:14:51
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investigate
发表于 2025-3-24 21:00:07
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休息
发表于 2025-3-24 23:25:40
Werner Bergmann,Marianna Grüters modern art. Adorno’s thoroughgoing rejection of symbolism, “the unity of the universal and the particular,” retrospectively clarifies Coleridge’s more gradual departure from the symbolism of .. Reading Coleridge’s depiction of the sublime Gothic cathedral in his 1818 lectures, moreover, illuminates