I got the inspiration to write on
the esoteric, Oxford, Cambridge and Webster word:'Sublime,'
worded and lexicolatorized as the 'lofty,''magnificent, 'noble,'
& 'elevated,' as an experience attached to the 'human' in
experiencing and connoting 'art.'
From the lexicologist's experience,
to hawk-swoop words to exactitude as etymology, as derivative
philology, as usage in syntax, word classes and idioms, I
detoured to Philosophy and began reading Post-Modern philosopher
Lyotard started his revisionism of
the word 'sublime' from Immanuel Kant's coinage of the 'aesthetic
experience' as the sublime and the beautiful in his opus,
Critique of Judgement.
Kant in his philosophy of the
aesthetic experience talks of the beautiful and the sublime as
thus: for him beautiful meant 'harmony' i.e., the experience of
ease, peace, and niceness when one is sitting on sea-shore or
when one watches a panting idyll called sea-shore and
experiences. 'Sublime' was given a different experience that is,
an individual feels loathsome and repugnant as s/he encounters an
artistic experience and at the same time experiences
metaphorically, the sensateawfulness in the transcendental called
the 'theatric' arts.
Let's examine how the Kantian use of
the word: 'sublime' works in lyrics of the 'Hotel
They stab it with their steely
But they just can't
I assume that this song has been
sung, re-sung as a world -popular-culture- song and therefore it
is devoid of strangeness. I reinterpret Kant's use of the word
sublime as the repugnance working through many levels of
Repugnance can be an addictive one,
enjoying the melody and loathing the meaning, or it can be
addictive in the sense of succumbing to the lyric as meaning and
melody, or it can still be 'addictive' as the simulated
understanding of drugs and Satanism as the hidden codes behind
the words, making the individual a
narco-toxified-esoteric-evil-embracing culture-stereotype of an
era (the seventies of revolt).
For those who want tobinary identify
in 'spiritual discernment' and counter-revolutionize meanings of
the verse as de-masking the symbolic, as the metaphoric and the
metonymic-the meanings that emerge are the devil's musical
metaphor of trans-cultism, of subjugating originality of
individuality to the pseudo-psychotic Satanic worship, and to the
toxified-narco-simulated addiction, leading ultimately to
physical and spiritual death.
Within the Kantian use of the word
'sublime,' a multiplicity of experiences emerges which are
affective, interpretative and analytical; the classical dichotomy
between the rational and irrational has to be shifted to mean
hyper-rationality; hyper-rationality is working in multiplicity
as affecting and succumbing, or interpreting andresisting the
experience of the word 'sublime' within Hotel California.
Lyotard the post-modern philosopher
has revised the Immanuel Kant's 'sublime' to post-modernity in
texts as meanings which are disrupted or ruptured and the sublime
as a rupture of themes within linearity of narratives.
He makes claims of the sublime to be
' texts ofrupture,' as texts of post modern literature, shifting
cannons of narrative structure, as the hetro-populated, multiple
narrative mode, along with hetro-voices of narration, making the
text 'dissentric' (dissenting and writing in the pulp of multiple
centers of meaning [dissentric is coined from dissent, autonomy
He contrasts Joyce's 'Finnegan's
Awake as a postmodern text' with Marcel Proust's 'Remembrance of
Things Past' as a modern text. 'Remembrance of Things Past' as an
epic of memories is thematically post-modern in terms of
narrative content, that is Proust remembers smelling an orange
peal and bringing back his memories. But 'Remembrance Things
Past' is modern when it comes to the narrative structure because
it follows the traditional linear mode of straight-fiction as
A post-post modern effort to revise
the 'sublime' of what Lyotard meant,would be, to de-textualize
its textual centricity to a human- experiencing-ontology.
As the philosophy of human
-experiencing-ontology, the sublime as the post-post-modern, post
- structural affect of two experiences are:
b) Entity experiencing
identity can be the one where the individual is watching a movie.
He or she is a scopo-philia-ist (pleasure lover of the screen),
willing to submit himself or herself as being chained to theatre
seat, being a willing partner-accomplice to be stimulated by
moving images, texts, dialogues and music. Multiple- shizos or
splits of production ( a term used by Deleuze) are cameratized
and reelized. The individual is happy to be in a dark room where
his own ontology isforgotten and submitted to a reality called
the hegemony of the screen. An individual's 'ontology' is passive
A post post -structural resistance
to this form of being as entertainment-entertained identity can
be, the development of aversion or phobia to the screen as
scopo-phobia (hatred or aversion for being led by the screen and
its productivity as a passive, chained being).
Another example to illustrate
entertainment-entertained identity would be as: a person who is
locked on the seat of a roller coaster ride. He or she becomes a
paid gimmickery of machinery, motion and process of being a
plaything-ontology of a gigantic industry called entertainment
parks. The individual within the roller-coaster ride would hardly
be able to resist or stop the ride, or even extend it till the
allotted time schedule for the ride is over. The machinery
authorizes the frenzy-victimization of the individual's body
forces as the G-forces.
In both situations, the individual's
status as an entertainment-entertained identity is one of paid
status, is one of devotee -submission, is one of a situation
where the individual has little or no control of what she or he
can be other than being a notion that the individual is
entertained up to a period of mechanized time as well as paid
quality which againsubject's the individual's ontology to
entertainment-entertained-identity becomes a great
consumerist-carnival of ontological - intercourse in submissivity
where ejaculations are powered, controlled and timed to populate
the pleasure of being as great, and spectacular as art.
Entity experiencing identity
The entity experiencing identity is
a more complex form of human experiencing ontology. It is the
form being or ontology to experience processes of being as
hetro-hyper rationality, rather than its classical dichotomized
ancestor: rational vs. the irrational.The being is ina state of
allocation, invocation negotiation,mediation, and possession as
the undergoing. The being, hyper-energizes the 'what is' as
hyper-actions, hyper-creations and hyper-transformations.
As an entity experiencing identity,
the being can experience the following:
Joy (bliss) is the feeling goodness
Angst as the feeling of anxiety that
came into US dialect from the Germanic Angst, which was
melancholized much in modern literature, while it was being
caricatured grotesquized and cartoonenized as language plays to
define all-some, whole-some meaning of sense and
Mourning is pining for a lost
Melancholia is pining for an
Mourning and melancholia are famous
ontological themes for the use of literature through conceit, or
throughfigurative language using seduction adoration or
Mourning and Melancholia are
sicknesses as neurotic and psychotic states. In normal states of
behavioral ontology, they are classified as temporary phases over
which an individual has to live with and get over, or be
Pain is sadism, masochism and
Physiological Pain, having both erotic-fulfilling and injurious
significations, depending upon the level of consensus or the
level of infliction involved.
Orgasm is a poor English word, as it
defines it as a mere pouring out or a (just) coming through; its
multiplicity as labiality for poly-erogenity is an
ontologicaltheme that is being rewritten upon even to the point
of vehemence against all language as phallicized speech
Fore-playing is analogized as
language games. There are two aspects: semiotic and symbolic
aspect. The semiotic aspect is the rousing aspect where language,
touch and feel, mingle as minds & skins in dabbling
fantasies, enlightening an affect called
The symbolic aspect is more complex
and produces the semantic effect of language to be:
All the forms combine the sense of
meaning with the literal and the figurative aspects of language
to be in signification.
Prescriptive language works as the
'I said so and so it is right' kind of thing. Language prescribes
the centre of what it is saying as the taken for granted and the
literally true, as the ordained and the
A descriptive or denotative language
makes a categorical knowledge statement like: 'The Sun
A connotative form would be like
this: Make hay when the sun shines, statement working
idiomatically and proverbially.
Language is not only a just-game but
also a power -game to depict realities alternatives and realities
vs. alternatives assituations, outcomes, products, and
experiences. Language can be invoked to negotiate, mediate or
dominate, depending upon the content and intent of its
Climax like an
Elizabethan-Shakespearean play is the point at which Brutus
cannot turn back fromthe conspiring & politically clever
Antony. Climax in an orgasmic effect, is a point where the being
feels like coming, and another being, intercoursed with, feels
like a being in many comings.
Rising Action is the time of stage
where an entry is negotiated, adjusted and played upon to poke,
penetrate and saturate a motional action called the fulfilling of
beings in copulative action.
Jouissance as the French orgasm is,
the many joys, mourning and melancholia of beings as they
'sexuate' textuality in adjustments, adaptations and motional
poly-phonics of many natured intertwining and embracivity.
Epiphany from Joyce takes the
phenomenal experience where the beings get an intuitive sense of
newness and multiplicity in astimulus-created sensational
experience, created by the senses.
Catharsis: For Aristotle it meant
that if some one is murdered on stage, the audience purge their
sins as emotional cleansing. For a modern actor who is aware of
his or body, it means purging the worst as compassion and
cleansing the innocence as recognition.
Thanatos is permanent (physical
dying) as Christ said: 'let the dead bury the dead.'
Thanatos-transient as (post orgasmic
period) or the period before the wakening or the period of
multi-orgasmic revolutions is multiple-gender in the awareness of
experiencing and ontologizing.
All these forms as entity
experiencing ontology, are not arranged in order but in disorder.
All of them have processual-ontologies of a hyper mindful-body
rather than its older classical dichotomy, the mind and body
dualized as reason vs. passion, dichotomized.
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