维尔纳·赫尔佐格电影中的康德与伯克的崇高:对狂喜真理的追寻

IF 0.4 3区 艺术学 0 FILM, RADIO, TELEVISION
Patricia Aleksitch Castello Branco
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引用次数: 0

摘要

德国电影制作人维尔纳·赫尔佐格(Werner Herzog)有争议地将电影中的“真理”和“现实”与康德的崇高概念联系在一起,他明确地将崇高视为发展他的狂喜真理概念的关键因素。我批判性地考察了赫尔佐格对康德崇高的解释,以及他在崇高和他自己的狂喜真理的关键美学概念之间建立的关系。我研究了赫尔佐格电影中的崇高是如何从与自然的压倒性力量和力量的接触中产生的,这些力量和力量是他在故事片中的角色和纪录片中的参与者所经历的。我质疑康德的崇高概念是否最符合赫尔佐格的美学目标我将康德的超验崇高与埃德蒙·伯克的生理崇高进行了对比。我在当代生态关注的框架内,在人与自然关系的背景下,得出了一些关于崇高的道德维度的结论。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Kant and Burke’s Sublime in Werner Herzog’s Films: The Quest for an Ecstatic Truth
The German filmmaker Werner Herzog controversially associates “truth” and “reality” in film with Kant’s notion of the sublime by explicitly treating the sublime as a key element in developing his notion of ecstatic truth. I critically examine Herzog’s interpretation of Kant’s sublime and the relations he establishes between the sublime and his own key aesthetic notion of ecstatic truth. I examine how the sublime in Herzog’s films arises from encounters with the overwhelming force and power of nature experienced by his characters in the feature films and participants in the documentaries. I question whether Kant’s conception of the sublime is the one that best aligns with Herzog’s aesthetic aims and I contrast Kant’s transcendental sublime with what I describe as the physiological sublime of Edmund Burke. I draw some conclusions about the moral dimension of the sublime in the context of the relationship between humans and nature within the frame of contemporary ecological concerns.
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来源期刊
Film-Philosophy
Film-Philosophy Multiple-
CiteScore
0.40
自引率
0.00%
发文量
30
审稿时长
52 weeks
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