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Phone: 312-202-0213 Text with gaps part 8. There are three papers. ページが表示されない原
因として、次のような可能性があります。 English Literature GCE AS/A (Legacy) - WJEC ページが
表示されない原因として、次のような可能性があります。 This article enquires into Edgar Allan
Poe's (1809-1849) "The TellTale Heart" (1843) and "The Imp of the Perverse" (1845) in the light of
the Kantian sublime. These stories of horror genre contain sublime experience; they are the mixture
of horror, terror and pleasure which disturbs the human reason. They are the analyses of amoral and
transgressive acts. The transgressors kill their victims obsessively and arbitrarily to construct order
and beauty for themselves; their experiences of the sublime realize first through their committing
murders intelligently and talentedly, and then making confessions of them. The obsessive-compulsive
disorder and paranoia together stand out in the most extreme, leading to ignore the aftermaths of
their actions. Both narrators assert that their urges and deeds are normal, necessary and inevitable.
They experience the sublime through pleasure while doing evil which makes the reader/the
perceiving subject experience the sublime at the same time, not getting pleasure but through wonder,
suspense and terror. The narrators experience the sublime much later, while confessing, and make the
reader undergo the sublime experience of wonder, horror, suspense and terror together, leaving her
/him aback. The stories are the discussions about the nature of the unknown and the irresistible
motives to do wrong. Using the aesthetic theory of pleasure and terror, and feeling the depths of the
unconscious, Poe scrutinizes these urges. He elaborates on what lies beyond reason, the common and
the worldly, that is the sublime subverting Kant's notions about the working of human mind. I.
Introduction For Dark Romantic/gothic writers have delight in transgression and representation of
evil, their works often present stories of the sublime through perversity: Frankenstein (1818) and the
stories of H.P. Lovecraft are among many. They are interested in the dark side of human nature and
the tools that take them to the depths of it and to the sublime: perverse thinking and visualization of
terrible scenes. One common point of all these works is that they stimulate the sublime in
transgressive and evil acts such as committing murders. For Edgar Allan Poe (1809-1849) inclination
to perversity and the capacity of man's enjoying or committing perverse actions and crimes is
universal to all mankind. He regards the sublime as the equivalent of his 'single-effect' concept and
achieves the transgressive sublime/'the single effect' by including the readers into the sphere of the
perverse narrators'/characters' points of view and into the identification with them. This article aims
at proving that he through his peculiar use of the sublime, which includes taking the risk of going
beyond the 'ordinary' or familiar types of the sublime invalidates Immanuel Kant's (1724-1804)
notion of the sublime depending on the elaboration of his major psychological themes of
transgression and perversity. The Gothic emerged as a romantic response to the boundaries and basic
tenets of the Enlightenment thinking, and the gothic sensibility is fascinated with the anxiety over its
philosophical and aesthetic limits. It focuses on the antisocial , the irrational, and the immoral; so it is
closely related to transgression. In this respect, it transgresses the established socio-cultural and
aesthetic values. It proves that progress is impossible as long as imagination overwhelms reason and
unexplainable phenomena whether in human psyche or in the universe will exist. In this respect, as a
Romantic concept and in the gothic context, the sublime often emerges in transgressive acts. A major
trope of the Gothic, it denotes intense emotions in the face of power and infinity, elevating the mind
and the imagination together. The sublime signifies the transgression of rational mind, so it can be
syntesized that the Gothic and the sublime are the two interlocked areas of aesthetic theory. The
sublime is a link between terror and pleasure. It is something that disturbs and subdues the human
reason and imagination. Although it seems paradoxical that seemingly displeasing things such as
terror and pain can produce the sublime, it is a negative bliss and delight in gothic sense. Edmund
Burke (1729-1797) claimed that for terror is the strongest emotion, it is the most sublime and
dreadful pleasure provided that the subject feels safe. In the Age of Reason, the term meant
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