• Journal of Korean Philosophical Society
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• no.85
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• pp.161-198
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• 2009

In der traditionellen Geschichte der Philosophie wurde das Erhabene uberwiegend als ein Erlebnis verstanden, worin sich der Mensch uber den alltaglichen Mittelmass hinaus erhoht. So ist das Erlebnis des Erhabenens durch diese transzendierende Erhohung gekennzeichnet. Aber dabei wurde ubergangen, dass das Erhabene eigentlich von der Konfrontation des Menschen mit der Natur beigefuhrt wird. Wir vertreten die These, dass das Erhabene ein weltthematisierendes Ereignis darstelle und dass dieses Ereignis in einem Zwischenbereich zwischen Menschen und Welt eintrete. Die Phanomenologie stellt sich dabei als eine Methodenlehre heraus, einen sachgerechten Zugang zum Erhabenen darzubieten, weil sie im Grudne in jenem Zwischenbereich verankert ist. So stellt sich vor uns die Aufgabe, das Erhabene auf der Grundlage der phanomenologischen Methode zu beleuchten und damit den phanomenologischen Sinn des Erhabenens ans Licht zu bringen. Bei Heidegger finden sich die Hinweisen auf das Erhabene gerade in der Grundstimmung der Angst. Hingegen fur Merleau-Ponty haben wir den Zugang zum Erhabenen im Leib und leiblichen Fleisch. Fur beiden zeigt sich das Erlebnis des Erhabenen als ein Vorkommnis des Weltauftretens. Weil sich das Erhabene dabei als ein Erlebnis des passiven Erstaunens versteht, konnte nicht das traditionelle philosophische Denken, sondern die Kunst wie Malerlei diesem Phanomen des Erhabenens gerecht werden. So gehoren die Phanomenologie des Erhabenens und die phanomenologische Theorie des Kunst zusammen.

• The Research Journal of the Costume Culture
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• v.30 no.6
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• pp.898-918
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• 2022

Contemporary fashion research has paid increasing attention to the sublimity in the context of postmodernism. Sublimity is considered essential in contemporary fashion design as it arouses complex emotions which verbal expression cannot describe. Therefore, contemporary fashion designs need to be interpreted in terms of the sublimity. Through a detailed review of literature, the present study discusses Kantian and Lyotardian sublimity as main theories representing conventional and cotemporary concepts of sublimity. This paper selected five Korean fashion designers who won the prize of Samsung Design Fund from 2006 to 2019 and actively introduce their works every year. Images were collected to analyze their designs introduced from 2018 S/S to 2019F/W at their website. In addition, formative and color characteristics were analyzed to identify the changing features of s sublimity. Major findings of analyses are as follows. First, all designers' collections reflected both male and female sublimity with the respect to its formative characteristics. Color characteristics of sublimity indicated that Jeong, Wook Jun's collections represented features of male sublimity and other designers works showed elements of female sublimity. Essentially, the typical contemporary concept of the sublimity was found in the designs of Seo, Hye In. Consequently, female sublimity is more inclusive than male sublimity, while being opened to otherness.

• Cartoon and Animation Studies
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• s.32
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• pp.245-261
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• 2013

This paper analyzes films by director Tarsem Singh in relation to the theory of the sublime. The medium of film works in dimensions of both spectacle and narrative. Tarsem's strength mainly comes from spectacle. The visual style of Tarsem is unique and undeniably beautiful, but in a strange and magnificent way, rather than sweet and pleasant. If you accept the premises of Kant and Lyotard that the beautiful is a positive pleasure and the sublime is a negative pain, Tarsem's spectacle is certainly closer to the sublime than the beautiful. The Fall proves the director's ability in both spectacle and narrative. The spectacle of this film is so overwhelmingly huge, and vivid, it easily surpasses spectators' maximum capacity of imagination, which leaves the spectators in awe. Spectacle tends to hinder thinking thus obstruct the flow of narrative, but at the same time it blocks rational suspicion about the narrative. The spectacle of the Fall works as the power to immerse the spectators into the internal logic of the film. Since the spectators are deeply moved by the spectacle, they willingly follow the narrative of the film, the tragic adventure of the heroes which again gives the audience deep catharsis.

• Journal of the Korea Academia-Industrial cooperation Society
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• v.17 no.5
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• pp.137-145
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• 2016

We are accustomed to using the word 'beautiful' when we see something, but we don't use the word 'sublime' very often. In fact, these two words have totally different meanings and we can say 'sublime' only for special objects. The notions and objects of sublime have been studied by numerous philosophers ranging from Longinus to Burke and Kant. According to their studies, we can feel sublimity from objects which give us fear, because the sublime is inherent in fear. Therefore, in this study, we considered the sublime in the gothic novel, A Rose for Emily, in which we can find solemn sublimity in Emily's iron gray hair, her black suit, and a red rose which stands for blood. In addition, we can feel sublimity in the image of Emily who is waiting for Homer and the image of Homer's dead body. These kinds of images instill us with fear, but also show us tragic sublimity. The sublime exists in all kinds of literature and, therefore, more studies and analyses of the sublime in literature will likely be conducted.

• Journal of the Korean Institute of Landscape Architecture
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• v.40 no.4
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• pp.78-89
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• 2012

This study aimed to interpret aesthetic properties of post-industrial parks with a perspective of the sublime. It examined the roles of the sublime related to landscape architectural history and traced aesthetic characteristics of post-industrial parks based on aesthetic issues of the sublime. In the history of landscape architecture, the sublime had expanded the scope of aesthetic enjoyment. It had operated as an alternative aesthetic category against conventional landscape design. At the same time, it had been associated with the original role of landscape architecture, which created artworks by taming wild and terrible qualities of wilderness or brown field. This study discovered sublime characteristics of post-industrial parks, inquiring into the relationship between the aged industrial infrastructures and wild plants. First, the sense of industrial structure and the sense of plants have conflict dialectically, constructing an aesthetic field of unique sensory experiences. Second, the dialectical relationship produced an uncertainty in time so that people can experience the complexity of time. Third, post-industrial parks proposed an alternative view of nature. Post-industrial parks presented healing power to restore contaminated land through ecological design strategy so that people can find the quality of wilderness in the brown field of urban landscape. As a result, an aesthetic experience of post-industrial parks produced a sublime impression.

• The Korean Nurse
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• v.9 no.5 s.49
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• pp.17-18
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• 1970

• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2010.03a
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• pp.125-128
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• 2010

• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2010.03a
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• pp.129-132
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• 2010

• Proceedings of the Korean Institute of Landscape Architecture Conference
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• 2005.03a
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• pp.45-48
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• 2005

• Korean Architects
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• no.9 s.174
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• pp.59-59
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• 1983