预告：英美文学研究所学术沙龙

主题： Sublime and Sublimation in Romantic and Modernist Writings

时间：2020年7月8日（周三）下午14：00-15：30

地点：外国语学院学术沙龙钉钉群（群号：30286318）

主讲人：Prof. Youngmin Kim (金英敏) 教授

主讲人简介:

Youngmin Kim is Distinguished Research Professor Emeritus of the Humanities of Dongguk University. He is also Jack Ma Chair Professor of Ma Yun Education Fund, College of Foreign Studies, Hangzhou Normal University, China. He is currently the Director of Digital Humanities Center of Dongguk University, Visiting Fellow of Global Center for Technology in Humanities, Kyung Hee University, the Editor-in-Chief of Journal of English Language and Literature in Korea, Vice-President of International Association of Ethical Literary Criticism, Executive Council Member of International Comparative Literature Association, International Ezra Pound Society, and International Yeats Society. He wrote books and articles on Yeats, Pound, Hopkins, and Modern and Contemporary Poetry, Critical Theory, Cultural Studies, Lacanian Psychoanalysis, World Literature, and Transnationalism. His current research interest is modern and contemporary poetries in English, cultural translation, world literature, and trans/post media digital humanities. His recent articles appeared in Comparative Literature Studies, Foreign Literature Studies, Neohelicon, Interdisciplinary Studies of Literature, and Journal of English Language and Literature, etc.

内容简介：

Immanuel Kant takes over the issue of the sublime in his “Analytic of the Sublime” after Longinus’s “On the Sublime” and Edmund Burke’s “Of the Sublime,” and clarifies the affectivity of the sublime, tempering Burke’s terror with a strange form of joy. Kant argues that the feeling of the sublime is “produced by the feeling of a momentary inhibition of the vital forces followed immediately by an outpouring of them that is all the stronger.” Unlike the beautiful, which results in pure pleasure, the mind in sublime feeling is attracted by the object, and always reciprocally repelled. Sublime feeling thus works as “negative pleasure” while suspending momentarily the appealing power of attraction followed by what Wordsworth calls sudden outpouring of the “spontaneous overflow of powerful feeling.” This suspension of the powerful emotions further provokes the question of representation itself which fails to function properly at the initiating moment. Thus, the problematic of representation remains.

In this context, this lecture will trace the genealogy of the aesthetics of the sublime, from Longinus, Burke, Kant, Nietzsche, Freud (setting aside the postmodern sublime) on the one hand, and demonstrate how Romantic poets (focusing on Coleridge and Wordsworth) and modernist writers (focusing on Woolf, Lawrence, Yeats) grapple with the unrepresentable sublime both in their poetics and literary discourses, on the other hand. I would argue that both Romantic and Modernist writers manifest the sublime linguistic representation in their literary discourses in terms of “sublimation.”