並列摘要
The sublime may intuitively seem to be an aesthetic concept that could not play a role in everyday aesthetics. However I argue that it does, and not just in the negative way described by Arnold Berleant in his critique of Disney World as a symbol of the postmodern sublime. First, I consider Zen experience as a possible source of the everyday sublime. Second, to describe one such experience I use Proust's experience of the madeleine from his great novel. Another route is through reinterpreting Edward Bullough's concept of aesthetics as ”distancing.” A fourth is through Heidegger's approach to Van Gogh's painting of shoes. Finally, I argue that Nietzsche's concepts of the Dionysian and of the ”tragic man” allow for the sublime in a way that points to a radically different interpretation of avant-garde art's relation to the everyday than that offered by Arthur Danto.
被引用紀錄
延伸閱讀
- 巴尔塔萨、张俊（2008）。Theology and Aesthetics。神學美學，(2)，20-27。https://www.airitilibrary.com/Article/Detail?DocID=P20170410001-200802-201704270020-201704270020-20-27
- 劉千美（2001）。The Aesthetic Dimension of Human Existence。應用心理研究，(9)，167-187。https://www.airitilibrary.com/Article/Detail?DocID=15609251-200103-x-9-167-187-a
- Berleant, A. (2011). Negative Aesthetics in Everyday Life. Aesthetic Pathways, 1(2), 75-91. https://doi.org/10.29431/AP.201106.0005
- 伍鴻沂（2015）。The New Concept of Pursuing Life-long Aesthetic Experience。台灣教育，(693)，16-20。https://www.airitilibrary.com/Article/Detail?DocID=18166482-201506-201507170001-201507170001-16-20
- 陳國雄（2010）。The Study of the Aesthetic Experience of the Environment。美學藝術學，(5)，109-123。https://www.airitilibrary.com/Article/Detail?DocID=16836057-201001-201006070069-201006070069-109-123