{"id":3417,"date":"2024-09-28T08:11:11","date_gmt":"2024-09-28T08:11:11","guid":{"rendered":"http:\/\/meumon.synology.me\/museu\/?p=3417"},"modified":"2024-09-28T08:11:11","modified_gmt":"2024-09-28T08:11:11","slug":"edmund-burke-a-philosophical-inquiry-into-the-origin-of-our-ideas-of-the-sublime-and-beautiful","status":"publish","type":"post","link":"http:\/\/meumon.synology.me\/museu\/edmund-burke-a-philosophical-inquiry-into-the-origin-of-our-ideas-of-the-sublime-and-beautiful\/","title":{"rendered":"Edmund Burke. A Philosophical Inquiry into the origin of our ideas of the sublime and beautiful"},"content":{"rendered":"

[Tenim una noci\u00f3 de sublim com a “Que desperta una emoci\u00f3 pregona per la seva alt\u00edssima bellesa, immensa grandesa, per quelcom que ultrapassa la comprensi\u00f3 humana.” (IEC) suggerint una connexi\u00f3 amb un tot transcendent, el mysterium fascinans. Un tractat sobre el sublim ens fa pensar en la contemplaci\u00f3 de la naturalesa i l’art.
\nEn canvi Burke associa sublim a una emoci\u00f3 forta per tal com n’\u00e9s de gran i terror\u00edfica. \u00c9s m\u00e9s aviat, un rep\u00e0s a les sensacions i emocions.]<\/p>\n

\n

INTRODUCTION: On Taste \u00a079
\nPART I 101
\nI. Novelty 101
\nII. Pain and Pleasure 102
\nIII. The Difference between the Removal of Pain and Positive Pleasure 104
\nIV. Of Delight and Pleasure, as opposed to each other 106
\nV. Joy and Grief 108
\nVI. Of the Passions which belong to Self-Preservation 110
\nVII. Of the Sublime 110
\nVIII. Of the Passions which belong to Society 111
\nIX. The Final Cause of the Difference between the Passions belonging to Self-Preservation, and those which regard the Society of the Sexes 113
\nX. Of Beauty 114
\nXI. Society and Solitude 115
\nXII. Sympathy, Imitation, and Ambition 116
\nXIII. Sympathy 117
\nXIV. The Effects of Sympathy in the Distresses of Others 119
\nXV. Of the Effects of Tragedy 120
\nXVI. Imitation 122
\nXVII. Ambition 123
\nXVIII. The Recapitulation 125
\nXIX. The Conclusion 126<\/p>\n

\n

PART II. 130
\nI. Of the Passion caused by the Sublime 130
\nII. Terror 130
\nIII. Obscurity 132
\nIV. Of the Difference between Clearness and Obscurity with regard to the Passions 133
\n[IV.] The Same Subject continued 134
\nV. Power 138
\nVI. Privation 146
\nVII. Vastness 147
\nVIII. Infinity 148
\nIX. Succession and Uniformity 149
\nX. Magnitude in Building 152
\nXI. Infinity in Pleasing Objects 153
\nXII. Difficulty 153
\nXIII. Magnificence 154
\nXIV. Light 156
\nXV. Light in Building 157
\nXVI. Color considered as productive of the Sublime 158
\nXVII. Sound and Loudness 159
\nXVIII. Suddenness 160
\nXIX. Intermitting 160
\nXX. The Cries of Animals 161
\nXXI. Smell and Taste\u2014Bitters and Stenches 162
\nXXII. Feeling.\u2014Pain 164<\/p>\n

\n

PART III. 165
\nI. Of Beauty 165
\nII. Proportion not the Cause of Beauty in Vegetables 166
\nIII. Proportion not the Cause of Beauty in Animals 170
\nIV. Proportion not the Cause of Beauty in the Human Species 172
\nV. Proportion further considered 178
\nVI. Fitness not the Cause of Beauty 181
\nVII. The Real Effects of Fitness 184
\nVIII. The Recapitulation 187
\nIX. Perfection not the Cause of Beauty 187
\nX. How far the Idea of Beauty may be applied to the Qualities of the Mind 188
\nXI. How far the Idea of Beauty may be applied to Virtue 190
\nXII. The Real Cause of Beauty 191
\nXIII. Beautiful Objects Small 191
\nXIV. Smoothness 193
\nXV. Gradual Variation 194
\nXVI. Delicacy 195
\nXVII. Beauty in Color 196
\nXVIII. Recapitulation 197
\nXIX. The Physiognomy 198
\nXX. The Eye 198
\nXXI. Ugliness 199
\nXXII. Grace 200
\nXXIII. Elegance and Speciousness 200
\nXXIV. The Beautiful in Feeling 201
\nXXV. The Beautiful in Sounds 203
\nXXVI. Taste and Smell 205
\nXXVII. The Sublime and Beautiful compared 205<\/p>\n

\n

PART IV. 208
\nI. Of the Efficient Cause of the Sublime and Beautiful 208
\nII. Association 209
\nIII. Cause of Pain and Fear 210
\nIV. Continued 212
\nV. How the Sublime is produced 215
\nVI. How Pain can be a Cause of Delight 215
\nVII. Exercise necessary for the Finer Organs 216
\nVIII. Why Things not Dangerous sometimes produce a Passion like Terror 217
\nIX. Why Visual Objects of Great Dimensions are Sublime 217
\nX. Unity, why requisite to Vastness 219
\nXI. The Artificial Infinite 220
\nXII. The Vibrations must be Similar 222
\nXIII. The Effects of Succession in Visual Objects explained 222
\nXIV. Locke’s Opinion concerning Darkness considered 225
\nXV. Darkness Terrible in its own Nature 226
\nXVI. Why Darkness is Terrible 227
\nXVII. The Effects of Blackness 229
\nXVIII. The Effects of Blackness moderated 231
\nXIX. The Physical Cause of Love 232
\nXX. Why Smoothness is Beautiful 234
\nXXI. Sweetness, its Nature 235
\nXXII. Sweetness relaxing 237
\nXXIII. Variation, why Beautiful 239
\nXXIV. Concerning Smallness 240
\nXXV. Of Color 244<\/p>\n

\n

PART V. 246
\nI. Of Words 246
\nII. The Common Effect of Poetry, not by raising Ideas of Things 246
\nIII. General Words before Ideas 249
\nIV. The Effect of Words 250
\nV. Examples that Words may affect without raising Images 252
\nVI. Poetry not strictly an Imitative Art 257
\nVII. How Words influence the Passions 258<\/p>\n","protected":false},"excerpt":{"rendered":"

[Tenim una noci\u00f3 de sublim com a “Que desperta una emoci\u00f3 pregona per la seva alt\u00edssima bellesa, immensa grandesa, per quelcom que ultrapassa la comprensi\u00f3 humana.” (IEC) suggerint una connexi\u00f3 amb un tot transcendent, el mysterium fascinans. Un tractat sobre el sublim ens fa pensar en la contemplaci\u00f3 de la naturalesa i l’art. En canvi … <\/p>\n

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