Louis Schreel

Wissenschaftlicher Werdegang

10/2012 - 09/2015
Stipendiat im Graduiertenkolleg "Materialität und Produktion"
09/2010 - 09/2012
Research Master of Philosophy (Mphil) an der KU Leuven
09/2009 - 09/2010
Masterstudium der Philosophie an der KU Leuven
09/2006 - 07/2009
Bachelorstudium der Philosophie an der KU Leuven

Abstract des Dissertationsprojektes

The Erewhon of the image: the immanent sublime in Lyotard, Deleuze and Nancy
The beautiful and the sublime have in common for Immanuel Kant to be concerned with presentation, and presentation only. In both he discerns a play of presentation, without any represented object. There must thus be a concept or an experience of presentation (Darstellung) that is not submitted to the general logic of (re)presentation, that's to say to the presentation of a subject to a subject. Departing from a profound meditation on Kant's aesthetics, many contemporary art philosophers argue that the power of art lies exactly in its ability to extract things from our perspective on the world and push the imaginary relation between man and world to its limit, presented by the radical otherness of the real. The artwork is said to allow us an oblique glimpse on the materiality of a being without beings, enframing this being and forcing it into a presentation. It is remarkable how today the manifestation of the insistance and penetrance of this 'Outside' is often linked to experiences of existential pain and suffering (e.g. fear or abjection). Many contemporary authors attach much more importance to the negatively coloured affective side of aesthetic sensations concerning the disclosure-character of art, than to a positively coloured side (e.g. amazement or love). Some even proclaim the need for an aesthetics beyond the sublime, towards a 21st century aesthetics of the monstrous. This dissertation aims to investigate the conceptual preconditions of this contemporary climate through an ontological interpretation of the affective: in what sense do aesthetic experiences unfold a kind of transcendental reduction? Whence the contemporary asymmetric appreciation of intense shock experiences of mental and bodily pain and suffering? What to think of a sensibility for the 'Other' involving (also) a more 'positively' coloured affectivity (as with e.g. the Heideggerian Terrence Malick)?


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