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Lowering Human Hubris into the Sublime
Rich Murphy
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DOI:10.17265/2159-5836/2025.03.007
Massachusetts College of Art and Design, USA
Using films by Patricia Rozema and Igmar Bergman, “Lowering Human Hubris into the Sublime” reminds the reader that the particular in our lives is where the sublime performs. While we multitask and take for granted the world around us that supports our mythic assumptions, the particular objects and lives are actively present. In the two movies, the particular functions as a source of the sublime reminder and source of metaphor for stability and atrophy in everyday living. In one film an artist focuses the ordinary objects in everyday life while being disregarded by artists involved in the abstract. In the second film the particular behind the scenes works quietly to dismantle cultural beliefs for the people living the soon to be dated beliefs where opportunities for more inclusive community reside.
Mermaids, wheelbarrow, Madonna, instinct, particular, sublime
Journal of Literature and Art Studies, March 2025, Vol. 15, No. 3, 158-162
Berman, I. (1971). “The Touch” movie. Drama/Romance. 1h 55m
Rozema, P. (1988). “I’ve Heard the Mermaids Singing” March 1988 (USA)
Sloterdijk, P. (2017). “The Museum. School of Disconcertment. Otherness and Varnish.” The aesthetic imperative: writings on art. Polity Press .
SUBSLIKESCRIPT. https://subslikescript.com/movie/The_Touch-66826
Williams, C. W. (1963). Paterson: 1927. New Directions Publishing Corporation.
Williams, C. W. (2011). Spring and all. New Directions Publishing Corporation.
Berman, I. (1971). “The Touch” movie. Drama/Romance. 1h 55m