Grandiose Feeling Concepts of the Sublime and its cinematic Realisation Burke - Kant - Lyotard etc

Preußer H-P. Grandiose Gefühle. Deutsche Zeitschrift für Philosophie. 2015;63(1):152-189.The Sublime is a framework for overwhelming emotions in a neuronal-physiologic und psychological sense. And since Burke's Enquiry it has been established as a constitutive part of the discourse of aesthetics. With Kant, his empirical exposition took a decisive transcendental turn, unfolding the dichotomy of the Mathematically and the Dynamically Sublime. Whereas in the former case, we are stunned by the incomprehensible vastness of impression, in the latter we enjoy the mighty, threatening and extinguishing power of nature once we ourselves are safe. Both feelings are generated by the cinema as a dispositive of artificial experience in which it becomes sensually evident why imagination fails in its ability to comprehend the whole. But although perceiving its diminutiveness, the subject masters this failure by raising itself up in being able to think - as opposed to imagining - the Greatness. Lyotard interprets this hubris as an act of self-empowerment, tending to extinguish the experience of nature. Therefore, his interest in the Sublime bears on abstract, amorphous art and lighting installations. This article, however, argues that especially with regard to the film as mass media, the categories and concepts of the sublime as deployed in the 18th century are still appropriate in order to grasp a major form of our aesthetic experience

Mosaic Structure and social Stratification of Language in the Gerhart Hauptmann's The Rats

Preußer H-P. Mosaikstruktur und soziale Schichtungen der Sprache in Gerhart Hauptmanns Die Ratten. INTERNATIONALES ARCHIV FUER SOZIALGESCHICHTE DER DEUTSCHEN LITERATUR. 2017;42(1):51-76.While Hauptmann's final naturalistic drama is a highly self-reflective, autopoietic and modern work of art, it captivates audiences with its realistic qualities. The play molds social stratifications of articulation and speech, and its figures in their entirety, as radically constructed -and also inverses them. Given that the symbolism of high and low, bright and dark, tragedy and comedy are continuously subverted and suspended by one another, The Rats thus shifts from portrayals of reality to those of mythological transformations

Gewalt im Bild - ohne Bild

Sutter T. Gewalt im Bild - ohne Bild. In: Preußer H-P, ed. Gewalt im Bild. 1.st ed. Marburg: Schüren Verlag; 2018: 39-52

Die Allmacht des Baal. Großstadtphantasmagorien bei Fritz Lang und Walter Ruttmann (METROPOLIS / BERLIN, DIE SINFONIE DER GROßSTADT; D 1927)

Voß T. Die Allmacht des Baal. Großstadtphantasmagorien bei Fritz Lang und Walter Ruttmann (METROPOLIS / BERLIN, DIE SINFONIE DER GROßSTADT; D 1927). In: Preußer H-P, ed. Späte Stummfilme. Ästhetische Innovation im Kino 1924-1930. Marburg: Schüren; 2016: 301-317

Was heißt es, Gewalt zu sehen? Nicolas Poussins Bethlehemitischer Kindermord in Chantilly

Grave J. Was heißt es, Gewalt zu sehen? Nicolas Poussins Bethlehemitischer Kindermord in Chantilly. In: Preußer H-P, ed. Gewalt im Bild. Ein interdisziplinärer Diskurs. Schrftenreihe zur Textualität des Films. Vol 10. Marburg: Schüren; 2018: 145-178

Billy Tom rettet Metropolis. Marginalie zu einer ungewöhnlichen Verwertungsgeschichte der Filmstandbilder Horst von Harbous

Weber A. Billy Tom rettet Metropolis. Marginalie zu einer ungewöhnlichen Verwertungsgeschichte der Filmstandbilder Horst von Harbous. In: Preußer H-P, ed. Späte Stummfilme. Ästhetische Innovation im Kino 1924-1930. Schriftenreihe zur Textualität des Films. Vol Band 9. Marburg: Schüren Verlag GmbH; 2017: 318-327

Stumme Symphonien der peripheren Moderne: São Paulo. A sinfonia da metrópole

Michael J. Stumme Symphonien der peripheren Moderne: São Paulo. A sinfonia da metrópole. In: Preußer H-P, ed. Späte Stummfilme. Ästhetische Innovation im Kino 1924-1930. Schriftenreihe zur Textualität des Films. Vol 9. Marburg: Schüren; 2017: 328-344