{"title":"埃德蒙·伯克《探究》中的他者之眼:语言、对抗与崇高的(主观)身体","authors":"Ellen Scheible","doi":"10.13110/criticism.63.3.0223","DOIUrl":null,"url":null,"abstract":"Abstract:In the Enquiry, Burke gives voice to a traumatic cultural symptom—an inaccessible yet necessary sublimity—that is bound to his dual role as English and Irish and his understanding of the many versions of subjectivity in eighteenth-century aesthetics. Burke gives further articulation to conventional notions of sympathy by positing the sympathetic sublime as a possible mediator of inflicted and symptomatic traumas—traumas that cannot be reduced or generalized as a unified, theoretical \"trauma\" but instead remain individual regardless of Burke's desire to make them part of a transcendental aesthetic. The necessary distance presupposed by a sublime experience is counteracted by the intimacy of the imagination—we must make a painful experience a personal one in order to sympathize with it—and this intimacy occurs when the subject is confronted by both the gender and language of an other. Such confrontation reconfigures notions of the self and its position within the economy of modern imperialism.","PeriodicalId":42834,"journal":{"name":"FILM CRITICISM","volume":"17 1","pages":"223 - 253"},"PeriodicalIF":0.1000,"publicationDate":"2021-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The Eye of the Other in Edmund Burke's Enquiry: Language, Confrontation, and the (Subjective) Body of the Sublime\",\"authors\":\"Ellen Scheible\",\"doi\":\"10.13110/criticism.63.3.0223\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract:In the Enquiry, Burke gives voice to a traumatic cultural symptom—an inaccessible yet necessary sublimity—that is bound to his dual role as English and Irish and his understanding of the many versions of subjectivity in eighteenth-century aesthetics. Burke gives further articulation to conventional notions of sympathy by positing the sympathetic sublime as a possible mediator of inflicted and symptomatic traumas—traumas that cannot be reduced or generalized as a unified, theoretical \\\"trauma\\\" but instead remain individual regardless of Burke's desire to make them part of a transcendental aesthetic. The necessary distance presupposed by a sublime experience is counteracted by the intimacy of the imagination—we must make a painful experience a personal one in order to sympathize with it—and this intimacy occurs when the subject is confronted by both the gender and language of an other. Such confrontation reconfigures notions of the self and its position within the economy of modern imperialism.\",\"PeriodicalId\":42834,\"journal\":{\"name\":\"FILM CRITICISM\",\"volume\":\"17 1\",\"pages\":\"223 - 253\"},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2021-08-07\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"FILM CRITICISM\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.13110/criticism.63.3.0223\",\"RegionNum\":4,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"FILM, RADIO, TELEVISION\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"FILM CRITICISM","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.13110/criticism.63.3.0223","RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
The Eye of the Other in Edmund Burke's Enquiry: Language, Confrontation, and the (Subjective) Body of the Sublime
Abstract:In the Enquiry, Burke gives voice to a traumatic cultural symptom—an inaccessible yet necessary sublimity—that is bound to his dual role as English and Irish and his understanding of the many versions of subjectivity in eighteenth-century aesthetics. Burke gives further articulation to conventional notions of sympathy by positing the sympathetic sublime as a possible mediator of inflicted and symptomatic traumas—traumas that cannot be reduced or generalized as a unified, theoretical "trauma" but instead remain individual regardless of Burke's desire to make them part of a transcendental aesthetic. The necessary distance presupposed by a sublime experience is counteracted by the intimacy of the imagination—we must make a painful experience a personal one in order to sympathize with it—and this intimacy occurs when the subject is confronted by both the gender and language of an other. Such confrontation reconfigures notions of the self and its position within the economy of modern imperialism.
期刊介绍:
Film Criticism is a peer-reviewed, online publication whose aim is to bring together scholarship in the field of cinema and media studies in order to present the finest work in this area, foregrounding textual criticism as a primary value. Our readership is academic, although we strive to publish material that is both accessible to undergraduates and engaging to established scholars. With over 40 years of continuous publication, Film Criticism is the third oldest academic film journal in the United States. We have published work by such international scholars as Dudley Andrew, David Bordwell, David Cook, Andrew Horton, Ann Kaplan, Marcia Landy, Peter Lehman, Janet Staiger, and Robin Wood. Equally important, FC continues to present work from emerging generations of film and media scholars representing multiple critical, cultural and theoretical perspectives. Film Criticism is an open access academic journal that allows readers to read, download, copy, distribute, print, search, and link to the full texts of articles, or use them for any other lawful purpose except where otherwise noted.