UDTR — Radar mondial des droits de la Nature

Ekološko sublimno

Identification

Clé publique

handle:20.500.12556/rul-181472

Auteurs

Uršula

Année déclarée

2026

Langue déclarée

sl · slv

Type source

Part of book or chapter of book

Première détection

2026-11-09T19:10:41.151783+00:00

Dernière observation des métadonnées

2026-11-09T19:10:41.151783+00:00

Dernière vérification HTTP

Non effectuée

Résumé documentaire — langue originale

Podnebne krize in sistematično uničevanje naravnih ekosistemov v dobi antropocena nas v postindustrijskem kontekstu usmerjajo k ponovnemu premisleku pojma narave ter razmerij med naravnim in kulturnim, organskim in tehnološkim. Kapitalocen se kaže kot obdobje, v katerem se soočamo z grožnjo planetarnega zloma in strahom pred nevidnimi, a vseprisotnimi oblikami radiacije, ki v skrajni konsekvenci implicirajo možnost izumrtja človeka in drugih živih bitij. Takšno soočenje z eksistenčno nestabilnostjo in hipotetično realnostjo izginotja sproža občutke groze in nemoči ob neobvladljivem toku naravnih sil, kar je v estetskem okviru mogoče misliti skozi pojem sublimnega. Vendar sodobno sublimno presega romantično koncepcijo stapljanja z naravo, refleksije o neskončnosti duha ali intimno izkušnjo lastne nepomembnosti ob soočenju z močjo narave in kozmičnih sil. Aktualna ekološka razmerja usmerjajo razpravo k pojmu ekološkega sublimnega, ki terja premik tako v razumevanju narave in njene objektnosti kot tudi v širšem pojmovanju same objektnosti – denimo v perspektivi »hiperobjekta«, kot ga opredeljuje Timothy Morton. Segment okoljske filozofije se sooča z vprašanjem, kako misliti naravo onkraj hierarhične binarne opozicije med subjektom in objektom. it has come instead to signify the infinite, the unimaginable, and the abstract. Lyotard’s definition of the sublime employs the concept of negative presentation and the temporality of the event, while Jameson, by contrast, sees the postmodern technological sublime as the inability to think, or represent, the spatial totality, especially in the context of multinational capital. While the changes in technological and geopolitical circumstances in the 1990s spurred discussions of the “nuclear sublime”, associated with the dread at the awesome destructive power of atomic fission, the modern context of ecological crises and global climate change has given rise to the concepts of the “chemical” or “ecological sublime”, in which the notion of the sublime is reinterpreted through the lens of posthumanist critiques of the Anthropocene. The paper examines the mutations of the concept of the sublime in the era of the Capitalocene (Bourriaud), hyperobjects (Morton), and ecological aesthetics (Hitt, Chua, Bennett). The planetary-scale challenges posed by the climate crisis and the destruction of natural ecosystems in the Anthropocene call for a rethinking of the fundamental categories that define the relationship between nature and culture. The post-industrial era, marked as it is by climate crises and the looming threat of planetary collapse, evokes feelings of anxiety, dread, and powerlessness in the face of the uncontrollable forces of nature. In the field of aesthetics, such feelings may be understood through the concept of the sublime. In Romanticism, the sublime referred to the feelings of elation that accompany the experience of nature—feelings that combine delight with dread in the face of the loss of (self-)control in an imaginary fusion with nature. In the modern and postmodern eras, the concept of the sublime is no longer associated with the representation of nature

Identifiants

OPENAIRE

od______3505::d943fe6cc4012c1bd06559e73fed4e70

Repères documentaires

Famille documentaire

Chapitre d’ouvrage

Types déclarés par les sources

Part of book or chapter of book

Entités naturelles mentionnées

Écosystème

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Description bibliographique du livre

Disponibilité non établie

Sources

OpenAIRE · Document 1

• Document · https://hdl.handle.net/20.500.12556/RUL-181472

Statut documentaire

Pertinence à examiner

Bibliothèque

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