Like other spaces of the Enlightenment, sublime was what Michel de Certeau might have called “a practiced place.” Its rhetorical commonplaces, philosophical terrains, and associated physical environments were cultivated, shaped, framed by human action habit. But can sublime—epiphanic, quasi-spiritual, unmasterable, extraordinary—ever really become a habit? Is it possible, even natural, to habit...

This article makes the case that sublime plays a more important part in poetry of Ovid, and its reception, than is generally acknowledged. It surveys Ovid's use word sublimis, from early amatory to exilic poetry, argues it often connotes sublimity as an aesthetic ideological category. Within Metamorphoses particular attention given Phaethon episode (whose well recognized) storm Ceyx Alcyone (wh...

The present study aims to see whether music (cheerful and sad) tuned different frequencies (432 Hz vs. 440 Hz) cause effects on the listener’s emotions. In research, of cheerful sad samples at were examined within framework variables such as Heart Rate Variability (HRV), emotions felt mood. was carried out with a total 51 participants (31 women comprising 60.8% group, 20 men 39.2% group) who ha...

This paper investigates a vision of the underground environment associated with an aesthetic discipline. Its fundamental notion is sublimity, which was phenomenon that involved number artworks engaged changing perception experience. seeks to clarify how idea living has changed by examining works writers, painters, and architects who have drawn inspiration from concept imaginary underworlds. Thr...

O livro dos Salmos é sem dúvidas um registro fantástico, no qual são expressos os mais variados sentimentos do povo de Deus diante da história Israel e o seu relacionamento com Altíssimo. Embora conteúdo seja bem pessoal dotado expressões humanas vida, carrega em si uma teologia substancial, tocante a diversos temas, como criação – assunto questão. Esta fora constituída tempos pré escrita ao li...

At the end of ‘Passion and striving: The language of emotion and political hierarchy’, Susan James discusses Burke’s concept of the sublime, tracing its origins in his criticisms of Hobbes, Malebranche, and Hume, who, James informs us, ‘made the mistake of supposing that fear is invariably a negative affect’.1 On the contrary, for Burke the experience of fear can arouse pleasure provided that w...