Kantian Sublime in Friedrich's Landscape Paintings and Keats's Odes

• Main Authors: Ya-ling Huang, 黃雅翎
• Other Authors: Dr. Hsiao-chen Chiang
• Format: Others
• Language: en_US
• Published: 2010
• Online Access: http://ndltd.ncl.edu.tw/handle/88403230762974776216

碩士 === 國立彰化師範大學 === 英語學系 === 99 === A process of creation can be regarded as projection or discovery of a subject and objects, and through this process the subject could reach some spiritual satiation. In Kant’s aesthetics, the transition between the noumenon and phenomenon reflects an inseparable relation between subject and object. Subject’s projection makes object as a persona improving her judgment and identity as subjective purposiveness, even if she cannot reach the absolute reunion in the end. Though, C. D. Friedrich is a German Romantic landscapist, but he, spiritually, attempts to recognize some communication with the world. His description of relation and conflict between human and the magnitude is understood through Kant’s mathematical sublime. Furthermore, John Keats’s odes reflect his aesthetic anxiety, distance, and acceptance eventually in a mode of retrospect. His subjective interruption and reconsideration contribute to his own sublimility and reconciliation with the external, which is similar to Kant’s dynamical sublime. The aim of this thesis is to connect and investigate how these two grasp positive vitality, possibilities, and sublimility through negative or melancholy images, mathematically and dynamically. This thesis is divided into five chapters. Chapter One offers an introduction of Romantic concepts in literature and features in landscape painting. Literature review and summary are also included. The point of Chapter Two is the methodology, Kantian aesthetic and sublime. Chapters Three and Four explore the similarities between Kantian sublime and the two’s creating characteristics. The final chapter is concluded by subject's aesthetic experience and reconciliation with the externality as a responsible being.