This practice based MRes project examines the physiological terror-sublime proposed by Edmund Burke’s A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful. Using the Enquiry as a manual for artistic production, and employing word charts to map the territory, this project looks to embody ideas of the Burkean sublime in contemporary practice. Simon Morley, in the introduction to The Sublime, broadly describes the subject as ‘…fundamentally transformative, about the relationship between disorder and order, and the disruption of the stable coordinates of time and space…in looking at the relevance of the concept to contemporary art, we are also addressing an experience with implications that go far beyond aesthetics… Awe and wonder can quickly blur into terror, giving rise to a darker aspect of the sublime experience, when the exhilarating feeling of delight metamorphoses into a flirtation with dissolution and the ‘daemonic’’ (Morley, 2010:12) This project uses Burke’s Enquiry as the premise for the creation of gallery-based film and installation, alongside a written comparative analysis of relevant literature and artworks, in order to identify a proposed nihilistic turn in the Burkean terror sublime. In the sublime experience, the reveal of an external annihilating power, a shift in perception or a realisation of great depth or distance, leaves us newly aware of our physical limits and the limits of our rational capacities. The possibility of art to discuss an experience at the edge, where conventional language falters, has resulted in a range of artwork, across mediums, which can be identified with the sublime. Distinct from beauty and containing feelings of awe and reverence, the rush of the sublime can be discerned in the installations of Finnish duo IC-98, Anish Kapoor’s deep, dark voids and Bruce Conner’s apocalyptic Crossroads (1976). Through a process of making and reflection focusing on the dynamics of the Burkean sublime, and with reference to contemporary writing on the subject in both aesthetics and philosophy, this MRes asks - how is the sublime in Burke’s Enquiry distinct from the Kantian transcendent sublime, what is the pleasurable terror at the heart of the Enquiry and, by addressing Burke’s ideas through the artistic process, can a pessimism at the heart of Burke’s system be traced?

Shades of Sublime, 2018

Historically, the idea of the sublime is often associated with grand and astounding natural scenery. This thesis investigates a twenty-first century idea of the sublime that includes dissonant phenomena such as ecosystem disruption and climate change. The subject of the sublime is symbolic of how unprepared the general audience is for dealing with the inherent disorders that arise when confronted with ‘negative’ aesthetic engagement. Landscape design, however, can mediate this experience to facilitate a creative act of imagination and identification with contemporary sublime phenomena. This in turn provides an opportunity to speculate on a future landscape architectural repertoire.

AfroAsia, 2024

Resenha do livro de Paulina Alberto, Black Legend. The Many Lives of Raúl Grigera and the Power of Racial Storytelling in Argentina, Cambridge (Mas.): Cambridge University Press, 2022. 410 p.

Asosjournal, 2021

Bağlanma yaralanması kavramı çift aile terapilerinde oldukça yeni ve özel olan bir kavramdır. Bireylerin romantik ilişkideki partneriyle arasında olan bağlanmanın yapısına zarar verici bir durum olduğunda ortaya çıkar. Bireylerin savunmasız olduğu ihtiyaç anlarında yaşandıkları için ilişkide belirleyici olabilir. Her çift için bağlanma yaralanmasına sebep olabilecek olaylar değişkendir. Örneğin bir çift için oldukça travmatik olan bir olay, başka bir çift önemsiz bir durum olabilir. Bu çalışmanın amacı bağlanma ve bağlanma yaralanması kavramlarını incelemek ve film analizi yöntemiyle bu kavramları filimdeki sahneler üzerinden açıklamaktır. Bu amaçla nitel araştırma yöntemlerinden doküman incelemesi kullanılmış ve 2006 yılı yapımı olan Duvak/The Painted Veil filmi bağlanma yaralanması açısından incelenmiştir. Film Kitty ve Walter çiftinin yaşadığı bir aldatma olayı ve sonrasında yaşadıkları bağlanma yaralanmasının iyileşmesi sürecini konu almaktadır. Filmde yaşanan olaylar ve geçen konuşmalar üzerinden bağlanma yaralanması ve kavramları açıklanmaya çalışılmıştır. Çalışmanın yeni bir kavram olan bağlanma yaralanmasının anlaşılabilmesi adına literatüre yararlı olacağı düşünülmektedir.

Revue du Nord, t. 97, n° 413, 2015

190, cl. III), ainsi que d'une monnaie non décrite attribuée aux Trévires. C. Nukerke, comm. de Maarkedal (Oost-Vlaanderen, INS 45064, arr. Oudenaarde) Dengis 2014a, p. 25, G-522, signale la découverte, « dans des terrains agricoles », d'un bronze nervien « au rameau » du type D (Scheers 190, cl. II). 1.2.2. Monnaies gauloises de la province de Hainaut A. Asquilly, comm. de Quévy (Hainaut, INS 53084, arr. de Mons) Dengis 2014a, p. 8, G-453, signale comme « trou-S. Peruwelz (Hainaut, INS 57064, arr. Tournai) Dengis 2014a, p. 27, G-526, signale la découverte « dans des terrains agricoles » d'un potin nervien « au rameau » du type A (Scheers 190, cl. IV : 2,86 g). T. Petit-Enghien, comm. d'Enghien (Hainaut, INS 55010, arr. de Soignies) Dengis 2014a, p. 27, G-527, signale la découverte, « dans des terrains agricoles », d'un potin fruste « au rameau » type A (Scheers 190, cl. IV : 1,60 g ; 22 mm). U. Quevaucamps, comm. de Beloeil (Hainaut, INS 51008, arr. d'Ath) Dengis 2014a, p. 29, G-529, faisant référence à Dufrasnes 2010, p. 199, reprend le signalement de la découverte au lieu-dit Le Harbi (sect. A, parcelle 1660 B) d'un potin nervien « au rameau » type A (Scheers 190, cl. IV : 5,078 g). CHRONIQUE NUMISMATIQUE XXXIII 325 V. Ressaix, comm. de Binche (Hainaut, INS 56011, arr. de Thuin) Dengis 2014, p. 30, G-531, signale la découverte, « dans des terrains agricoles », d'un potin nervien « au rameau » type A (Scheers 190, cl. IV : 3,09 g), et d'un bronze d'Arda (Scheers 30a, cl. II). Les monnaies étaient accompagnées d'un anneau en potin (3,07 g). La présence très inhabituelle d'un bronze d'Arda sur deux sites de deux communes limitrophes (voir supra, Péronne-lez-Binche, 1.2.2. R), laisse penser à un doublon, même si le poids du « rameau A » est différent. W. Rumes (Hainaut, INS 57072, arr. de Tournai) Dengis 2014a, p. 31, G-536, signale, sans émettre la moindre critique, un ensemble de monnaies gauloises provenant du site Internet douteux déjà signalé plus haut (voir supra, 1.2.2. k). L'ensemble, hétéroclite, comprendrait quatre monnaies d'argent : un quinaire de kAΛETEΔOy, deux de TOGIRIX et un des Pictons (Scheers, Lyon, 858-860). S'y ajouteraient un potin des Sénons (DT 2640), ainsi que deux potins (Scheers 186, cl. II et Scheers 191) et deux bronzes (Scheers 146 et 151), des Rèmes. L'absence de tout monnayage local interpelle le chercheur. Un tel ensemble, mélangeant des monnaies, toutes exogènes, de dates et d'origines différentes, est évidemment localement peu vraisemblable. Av : non pesé ; usure 0-1 (fig. 1, 11). Scheers 29, cl. I ; DT 177A. 2. Nerviens : potin « au rameau » type A (Scheers 190, cl. IV). AF. Waudrez, comm. de Binche (Hainaut, INS 56011, arr. de Thuin) Dengis 2014a, p. 43, G-577, signale la trouvaille sur le site d'un établissement agricole romain, en même temps que des monnaies romaines, d'un potin nervien « au rameau » type A (Scheers 190, cl. IV : 3,04 g), accompagné de six anneaux en bronze (22,10 g ; 3,05 g ; 12,20 g ; 1,37 g ; 5,22 g ; 2,08 g). AG. Wiers, comm. de Péruwelz (Hainaut, INS 57064, arr. de Tournai) Dengis 2014a, p. 44, G-579, signale la découverte, « dans les terrains agricoles », d'un quinaire des Lingons du type kAΛETEΔOy (DT 3196 : 1,78 g).

1. La genealogía es gris; es meticulosa y pacientemente documentalista. Trabaja sobre sendas embrolladas, garabateadas, muchas veces reescritas. Paul Ree se equivoca, como los ingleses, al describir las génesis lineales, al ordenar, por ejemplo, con la única preocupación de la utilidad, toda la historia de la moral: como si las palabras hubiesen guardado su sentido, los deseos su dirección, las ideas su lógica; como si este mundo de cosas dichas y queridas no hubiese conocido invasiones, luchas, rapiñas, disfraces, trampas. De aquí se deriva para la genealogía una tarea indispensable: percibir la singularidad de los sucesos, fuera de toda finalidad monótona; encontrarlos allí donde menos se espera y en aquello que pasa desapercibido por no tener nada de historia --los sentimientos, el amor, la conciencia, los instintos--, captar su retorno, pero en absoluto para trazar la curva lenta de una evolución, sino para reencontrar las diferentes escenas en las que han jugado diferentes papeles; definir incluso el punto de su ausencia, el momento en el que no han tenido lugar (Platón en Siracusa no se convirtió en Mahoma...).

In the third part of the findings, it is possible to see the reflections of hybridization at the level of practice when the past and present practices of the practices that are both xiv a part and a transmitter of the Albanian cultural identity are compared. In this transformation experienced in transfer practices, it was the practical "womanhood states" that created the first domino effect. The transformation of "womanhood states" has transformed transference practices such as "marriage rituals", "living together" and "child-rearing". Therefore, it is possible to see the hybridization of Albanian cultural identity through the change of meanings attributed to "being a woman" in Albanian culture.