Sublimity addresses the nature of the sublime experience itself, and the function that experience has played, and continues to play, within aesthetic discourse. The book both updates and revises existing treatments of the sublime in the eighteenth century, examines its neglected role in the nineteenth century aesthetics, and analyzes the significance of the modifications the concept has undergone in order to serve the interests of contemporary aesthetics. The book thus offers the most comprehensive coverage of the history of the sublime (...) available. (shrink)

In the history of aesthetics, few concepts have been as powerful and as elusive as the idea of the sublime, the "enthusiastic terror" that can possess us when we behold a mountain or a miracle. In his new book, James Kirwan traces the history of the sublime from its emergence in the eighteenth century to its resurgence in contemporary aesthetics. Sublimity addresses the nature of the sublime experience itself, and the function that experience has played, and continues to play, within (...) aesthetic discourse. The book both updates and revises existing treatments of the sublime in the eighteenth century, examines its neglected role in the nineteenth century aesthetics, and analyzes the significance of the modifications the concept has undergone in order to serve the interests of contemporary aesthetics. The book thus offers the most comprehensive coverage of the history of the sublime available. With its appeal for readers in aesthetics, art history, religion, and literary theory, Sublimity will beof wide use to students and scholars. (shrink)

Through the idea of the sublime, Kant articulated a type of aesthetic judgement whereby one experiences the limits of cognition and representation. The result of this, for Kant, is the demonstration and cultivation of our moral nature. Lyotard reframes the idea of the sublime in terms of post-modernity through his development of the idea of the event. The experience of the event is roughly equivalent to the experience of the sublime. Crucially though, the experience of the event, unlike the sublime, (...) does not foster individual morality; rather, it points to injustices. (shrink)

Due to the historic separation of cognition and emotion, the affective aspects of learning are often seen as trivial in comparison to the more ‘essential’ cognitive qualities—particularly in science. We are taught that science should objectively scrutinize the world in search of answers, and science educators have been taught to look to scientists to guide their teaching of content and processes.2 As a result, science pedagogy characteristically instructs students to step back from objects and events in order to dispassionately observe (...) and analyze them. In an attempt to guide students towards thinking like scientists, the process of scientific inquiry is typically the focus in science. What is left out, of course .. (shrink)

Janet Malek has recently argued that the religious worldview of the clinical ethics consultant should play no normative role in clinical ethics consultation. What are the theological implications of a normatively secular clinical ethics? I argue that Malek’s proposal constitutes an irreligious clinical ethics, which commits multiple metaphysical harms. First, I summarize Malek’s key claims for a secular clinical ethics. Second, I explicate both John Milbank’s notion of ontological violence and Timothy Murphy’s irreligious bioethics to show how they apply to (...) Malek’s secular clinical ethics, resulting in an irreligious clinical ethics. Third, I then show how an irreligious clinical ethics commits metaphysical harms to patients, clinical ethics consultants, and the institution of clinical ethics consultation. I conclude that Malek’s proposal for an irreligious clinical ethics must be rejected to maintain the metaphysical integrity of clinical ethics consultants, patients, and the institution of clinical ethics consultation. (shrink)

Recent Darwin scholarship has provided grounds for recognising the Origin as a literary as well as a scientific achievement. While Darwin was an acute observer, a gifted experimentalist and indefatigable theorist, this essay argues that it was also crucial to his impact that the Origin transcended the putative divide between the scientific and the literary. Analysis of Darwin’s development as a writer between his journal-keeping on HMS Beagle and his construction of the Origin argues the latter draws on the pattern (...) of the Romantic or Kantian sublime. The Origin repeatedly uses strategies which challenge the natural-theological appeal to the imagination in conceiving nature. Darwin’s sublime coaches the Origin’s readers into a position from which to envision nature that reduces and contains its otherwise overwhelming complexity. As such, it was Darwin’s literary achievement that enabled him to fashion a new ‘habit of looking at things in a given way’ that is the centrepiece of the scientific revolution bearing his name. (shrink)

According to Kant’s Critique of the Power of Judgement, in the end all estimation of magnitude is sensible, or ‘aesthetic’, and the absolutely great in aesthetic estimation is called ‘the mathematical sublime’. This article identifies the relevant sensible element with an inner sensation of a temporal tension: in aesthetic comprehension, the imagination encounters an inevitable tension between the successive reproduction of a magnitude’s individual parts and the simultaneous unification of these parts. The sensation of this tension varies in degree and (...) facilitates aesthetic estimation in general. But in the special case where it comes to involve a sense of exceeding our imagination’s limit, we judge a magnitude to be mathematically sublime. Pace Kant, I argue that this limit is private and contingent rather than transcendental, such that the judgement of the mathematical sublime is neither universal a priori nor necessary. (shrink)

In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful concept in contemporary philosophy. In a reassessment of historical approaches, the first part of the book identifies the scope and value of the sublime in eighteenth-century philosophy, nineteenth-century philosophy and Romanticism, and early wilderness aesthetics. The second part examines the sublime's contemporary significance through its relationship to the arts; its position with respect to (...) other aesthetic categories involving mixed or negative emotions, such as tragedy; and its place in environmental aesthetics and ethics. Far from being an outmoded concept, Brady argues that the sublime is a distinctive aesthetic category which reveals an important, if sometimes challenging, aesthetic-moral relationship with the natural world. (shrink)

The Sublime in Schopenhauer's Philosophy transforms our understanding of Schopenhauer's aesthetics and anthropology. Bart Vandenabeele breaks new ground by providing what is probably the first monograph to be devoted exclusively to Schopenhauer's theory of the sublime. The book focuses on Schopenhauer's conception of the sublime and how it relates to the individual and its attitude towards life. The author explores in unusual depth Schopenhauer's relation to Kant, whose follower and critic he was, and shows how Schopenhauer's aesthetic theory moves beyond (...) Kant's in numerous meaningful ways. Drawing on recent insights in psychology and the philosophy of mind, Vandenabeele seeks ultimately to rework Schopenhauer's theory into a viable form so as to establish the sublime as a distinctive aesthetic category with a broader existential and metaphysical significance. (shrink)

The aesthetic tradition has identified as paradigmatically sublime such objects as imposing mountains and intense storms, as well as monumental art. But the tradition also acknowledges less paradigmatic cases, including sometimes mathematical structures or abstract concepts. In this paper, we argue that there is also a case for considering phenomenal consciousness – the experiential quality of subjective awareness – as a sublime phenomenon. One appreciates this, we argue, when one is struck by (fitting) awe upon contemplating (a) the perplexing existence (...) of something like phenomenal consciousness in an otherwise completely material universe and (b) the role of consciousness in injecting meaning and value in an otherwise brutally factual reality. (shrink)

As interest in aesthetic experience evolved in the eighteenth century, discussions of the sublime located two opposed accounts of its place and use. Ferguson traces these two positions - the Burkean empiricist account and the Kantian formalist one - to argue that they had significance of aesthetics, including recent deconstructive and New Historicist criticism.

In the United States, running as a leisure activity continues to grow in popularity. Healthism can explain some of this popularity, but it does not explain ultradistance running. Motivations for running can be seen through the framework of the Kantian beautiful and the sublime. Beauty arises through extrinsic motivation and relates to an economy of form, while the sublime arises through intrinsic motivation and relates to confronting the challenge of infinity. The commercial, casual, and competitive aspects of distance running correspond (...) to the beautiful, while its wilderness, serious, ultradistance aspects correspond to the sublime. This framework is used to explain the resistance of ultrarunning to the would-be detrimental effects of commodification, as well as ultrarunning’s ‘wild turn.’. (shrink)

The eighteenth-century Enlightenment represents a turn toward experience, that is, toward the experiencing subject. Still the Enlightenment involves an aspiration toward objective truth in the ideals of the newly emerging sciences and in the experiments in democracy that were beginning to transform the political landscape of Europe and America. Immanuel Kant's towering philosophical achievement in his critical works helps to reformulate a meaning of objectivity that is congenial to the climate of inquiry and freedom in that remarkable century, a meaning (...) that is unburdened of the metaphysical commitments of many of his predecessors. Kant's revolution in philosophical thought gives us an objectivity that is crucially related to epistemic conditions rooted in subjectivity, a correlation between subjectivity and objectivity that carries over as well into his critical treatises concerned with ethics and aesthetics. This book of essays explores the tension between subjectivity and objectivity as it develops in the Enlightenment in Winkelmann, Hume, and Kant. The focus is upon aesthetic theories concerning the beautiful, the sublime, and the grotesque. The question by two of the authors as to whether aesthetic enjoyment of the blues is morally justified underscores an interest in these essays in the connection between aesthetics and ethics. This concern of the relation of aesthetics to judgments in cognition and in morality underlies an area of peculiar interest to Kant, and therefore to many of these essays. Finally the authors examine a turn toward the subjective in the Postmodern world of art and aesthetic theory, a turn that represents a relaxation of the original Enlightenment tension between subjectivity and objectivity. It also represents perhaps a grotesque turn toward the extreme of subjectivity in the realm of Postmodern theory, an extreme toward which at least one of the authors casts a critical eye. (shrink)

From its first significant appearance in physics, the notion of probability has been linked in the minds of physicists with the notion of uncertainty. But the link may prove to be tenuous, if quantum mechanics, construed in terms of the Everett interpretation, is anything to go by.

This essay is concerned with modern and postmodern theories of the sublime and with a possible theological response to them. The essay first discusses the “modern sublime” and the “postmodern sublime” , and shows how these versions of the sublime terminate in one or the other form of “pure immanence” and, hence, are not sublime in any standard sense of the term. The essay then argues, in a second part, for an aesthetic of the beautiful and the sublime based upon (...) the theological doctrine of the analogy of being as articulated in the past century by Erich Przywara, S. J. (shrink)

Recent Darwin scholarship has provided grounds for recognising the Origin as a literary as well as a scientific achievement. While Darwin was an acute observer, a gifted experimentalist and indefatigable theorist, this essay argues that it was also crucial to his impact that the Origin transcended the putative divide between the scientific and the literary. Analysis of Darwin's development as a writer between his journal-keeping on HMS Beagle and his construction of the Origin argues the latter draws on the pattern (...) of the Romantic or Kantian sublime. The Origin repeatedly uses strategies which challenge the natural-theological appeal to the imagination in conceiving nature. Darwin's sublime coaches the Origin's readers into a position from which to envision nature that reduces and contains its otherwise overwhelming complexity. As such, it was Darwin's literary achievement that enabled him to fashion a new 'habit of looking at things in a given way' that is the centrepiece of the scientific revolution bearing his name. (shrink)

The insistence of the sublime -- When the earth moves: toward a political sublime -- The racial sublime -- The nuclear sublime -- The industrial sublime -- The 9/11 terror sublime -- Afterword: It's all about duration.

In this book, Robert Doran offers the first in-depth treatment of the major theories of the sublime, from the ancient Greek treatise On the Sublime and its reception in early modern literary theory to the philosophical accounts of Burke and Kant. Doran explains how and why the sublime became a key concept of modern thought and shows how the various theories of sublimity are united by a common structure - the paradoxical experience of being at once overwhelmed and exalted - (...) and a common concern: the preservation of a notion of transcendence in the face of the secularization of modern culture. Combining intellectual history with literary theory and philosophical analysis, his book provides a new, searching and multilayered account of a concept that continues to stimulate thought about our responses to art, nature and human events. (shrink)

In recent years, democratic theorists have inquired into the aesthetic dimension of contemporary politics. Influenced by Hannah Arendt and Jacques Rancière, these scholars claim that there is an analogy between democratic politics and aesthetic experiences, since both involve the confrontation of an indeterminacy that cannot be overcome by means of rational argumentation. Contributing to this perspective, but challenging some of Rancière’s insights, this article shows the importance of Jean-François Lyotard’s writings on aesthetics for understanding what I call ‘democratic aesthetics’. This (...) aesthetics, I argue, consists in works of art that bring representation to its limits, thus arousing an experience of the unpresentable. Influenced by Immanuel Kant’s analysis of the sublime, Lyotard claims that avant-garde art, by disrupting the rules of representational art, put representation as such into question. This experience of the unpresentable contributes to cultivating a readiness to listening to voices that are not yet heard, because they lack a discourse by which to express themselves. Given that politics in postmodernity, following Lyotard, consists in shifting the dividing line between the sayable and the unsayable, avant-garde art is conductive to a postmodern politics – which, I argue, is analogous to democratic politics. (shrink)

This essay is concerned with modern and postmodern theories of the sublime and with a possible theological response to them. The essay first discusses the “modern sublime” and the “postmodern sublime”, and shows how these versions of the sublime terminate in one or the other form of “pure immanence” and, hence, are not sublime in any standard sense of the term. The essay then argues, in a second part, for an aesthetic of the beautiful and the sublime based upon the (...) theological doctrine of the analogy of being as articulated in the past century by Erich Przywara, S. J. (shrink)

We call sublime those things and experiences supposed to be the very best. But what if the best actually leads to inequality and exploitation? Williams critiques the sublime over its long history and in recent returns to sublime nature and technologies. Deploying a new critical method that draws on process philosophy, he shows how the sublime has always led to inequality. This holds true even where it underpins ideas of cosmopolitan enlightenment, and even when refined by Burke, Kant, Nietzsche, Schopenhauer (...) and Zizek. Against the unjust legacies of the traditional sublime, James Williams defends a new, anarchist sublime: multiple, self-destructive and temporary; opposed to any idea of highest value to be shared by all but always imposed on the powerless. (shrink)

Often labelled as "indescribable," the sublime is a term that has been debated for centuries amongst writers, artists, philosophers and theorists. Usually related to ideas of the great, the awe-inspiring and the overpowering, the sublime has become a complex yet crucial concept in many disciplines. Offering historical overviews and explanations, Philip Shaw looks at: · The legacy of the earliest, classical theories of the sublime through the romantic to the post-modern and avant-garde sublimity · The major theorists of the sublime (...) such as Kant, Burke, Lyotard, Derrida, Lacan and Zizek, offering critical introductions to each · The significance of the concept through a range of literary readings including the Old and New testaments, Homer, Milton and writing from the romantic era · How the concept of the sublime has affected other art forms such as painting and film, from abstract expressionism to David Lynch's neo-noir This remarkably clear study of what is, in essence, a term which evades definition, is essential reading for students of literature, critical and cultural theory. (shrink)

The Sublime Today considers contemporary applications of aesthetic philosophy and earlier theories of the sublime from Longinus, Boileau, Burke, Kant, and Hegel to current literary and cultural contexts. Today, aesthetic experience itself seems to be changing, given the rise of new media and new conditions for the viewing and the reception of works of art. How might the rhetoric of the sublime be used to both describe our current situation and help formulate constructive responses to it? The Sublime Today collects (...) the work of scholars in literature, film, art, and media studies and provides a forum for investigating the contemporary relevance of the sublime, both as it has been understood historically and as it has been formulated by more recent theorists such as Jameson, Lyotard, Kristeva, and others. The volume includes essays on literary readings of the sublime in Coetze, Eggers, Lahiri, and Auster; essays on film and the visual arts in the work of François Ozon and in recent participatory art; and essays on how new technologies and media, as in media representations of 9/11, re-frame our relationship to the aesthetics of the sublime, especially as they intersect with questions of gender, the postcolonial, and the uneasy politics of terror. (shrink)

'Pain and pleasure are simple ideas, incapable of definition.'In 1757 the 27-year-old Edmund Burke argued that our aesthetic responses are experienced as pure emotional arousal, unencumbered by intellectual considerations. In so doing he overturned the Platonic tradition in aesthetics that had prevailed from antiquity until the eighteenth century, and replaced metaphysics with psychology and even physiology as the basis for the subject. Burke's theory of beauty encompasses the female form, nature, art, and poetry, and he analyses our delight in sublime (...) effects that thrill and excite us. His revolution in method continues to have repercussions in the aesthetic theories of today, and his revolution in sensibility has paved the way for literary and artistic movements from the Gothic novel through Romanticism, twentieth-century painting, and beyond. In this new edition Paul Guyer conducts the reader through Burke's Enquiry, focusing on its place in the history of aesthetics and highlighting its innovations, as well as its influence on many subsequent authors from Kant and Schiller to Ruskin and Nietzsche. (shrink)

This article demonstrates a novel conceptualization of sublimity: the sublime in the pedestrian. This pedestrian mode of sublimity is exemplified by the Biblical Abraham, the central figure of Kierkegaard’s pseudonymous Fear and Trembling. It is rooted in the analysis of one of the foundational stories of the three monotheistic religions: Abraham’s averted sacrifice of his son Isaac. The defining feature of this new, pedestrian mode of sublimity is that is remains hidden behind what I call a total incognito. It is (...) similar to the classical ‘elevated mode of sublimity’ as developed by Burke, Kant, and Schiller insofar as it denotes two contrasting feelings at once: repulsion and attraction. It is different insofar as Kierkegaard’s pedestrian mode of sublimity remains hidden from view and can only be shown indirectly. This article expounds the new, pedestrian mode of sublimity by investigating the relation between the incognito and the sublime in Fear and Trembling. It achieves that goal by engaging three perspectives: (1) the sublime failure that comes to the fore in the incognitos of an imaginary Abraham; (2) the ‘fear without being afraid’ that is invoked by God’s incognitos; (3) the total incognito of the pedestrian which conceals Abraham’s sublimity. (shrink)

Tracks the sublime art movement from Kant to the 21st century and onwards to a new future Stephen Zepke tracks the sublime art movement from its beginnings in Kant to its flowering in the late 20th and early 21st centuries. He shows that the idea of sublime art waxes and wanes in the work of Jean-Francois Lyotard, Gilles Deleuze and Felix Guattari, Jacques Derrida, Jacques Ranciere and the recent Speculative Realism movement. With it, a visionary politics of art seeks to (...) give it the most creative power possible: the power to overcome our conditions and embrace the unknown. (shrink)

Immanuel Kant’s Observations on the Feeling of the Beautiful and the Sublime is examined in the context of the emergence of the epistemological practice of scientific observation. By focusing on the genre-stylistic and semantic-structural features of the text the authors demonstrate the mechanisms of observation as well as the methods of describing the results characteristic of mid-eighteenth century science. The authors consider Kant’s treatise to be a hybrid text: on the one hand, it attests to the importance of the natural (...) science paradigm and the degree of its influence on the humanities in the modern period; and, on the other hand, it bears witness to the multi-genre character of philosophical treatises, combining as they do the considered and serious wisdom of philosophy, the precision of scientific terminology and the figurativeness of a work of fiction. Kant is perceived not only as a researcher and philosopher capable of bringing out the essence of the particular and changeable captured in observation, but as a writer with a consummate command of the apparatus for keeping the reader’s attention through linguistic devices and practices of image-creating. The authors demonstrate how the categories of the “beautiful” and “sublime” become a general framework for the description of the moral and mental properties of human nature. The authors show that Kant’s use of “aesthetic” wording in the title of his treatise does not announce that his aim is analysis of artistic perception and practices, but mainly refers to the form of his anthropological study and conceptualisation of scientific knowledge. Kant has transferred the technique of visualisation from natural sciences to the objects of philosophical inquiry, thus contributing to the development in the humanities of representative practices, the scientific method of observation as well as the corresponding epistemic and literary genre. (shrink)

The aesthetic techniques used in The Expanse are indicative of the infinite space that is an essential and ever‐present character in the show. The cinematography and set design of The Expanse make extensive use of chiaroscuro—a famous artistic technique in the history of painting. For some reason, the infinity of The Expanse attracts us. The look and design of the show indulges us in an experience of the sublime. The dynamically sublime is an experience of infinite power, but not where (...) our survival is threatened by it. The experience of the sublime is one proof of freedom. The absence of the ability to know the significance of what one does in the context of the infinite does not diminish the significance of what they do. The characters of The Expanse know this. They act because they know they must, and they have faith that what they do matters. (shrink)

This volume offers readers a unique and comprehensive overview of theoretical perspectives on "the sublime," the singular aesthetic response elicited by phenomena that move viewers by transcending and overwhelming them. The book consists of an editor's introduction and fifteen chapters written from a variety of disciplinary perspectives. Part One examines philosophical approaches advanced historically to account for the phenomenon, beginning with Longinus, moving through eighteenth and nineteenth century writers in Britain, France, and Germany, and concluding with developments in contemporary continental (...) philosophy. Part Two explores the sublime with respect to particular disciplines and areas of study, including Dutch literature, early modern America, the environment, religion, British Romanticism, the fine arts, and architecture. Each chapter is both accessible for nonspecialists and offers an original contribution to its respective field of inquiry. (shrink)

This Element considers Kant's account of the sublime in the context of his predecessors both in the Anglophone and German rationalist traditions. Since Kant says with evident endorsement that 'we call sublime that which is absolutely great' and nothing in nature can in fact be absolutely great, Kant concludes that strictly speaking what is sublime can only be the human calling to perfect our rational capacity according to the standard of virtue that is thought through the moral law. The Element (...) takes account of the difference between respect and admiration as the two main varieties of sublime feeling, and concludes by considering the role of Stoicism in Kant's account of the sublime, particularly through the channel of Seneca. (shrink)

Qu’est-ce qui fait qu’un discours atteint son effet? Comment évaluer celui-ci? Au premier siècle, Pseudo-Longin compose le traité Du Sublime et y étudie ce qui mène l’expression linguistique à son plus haut degré d’efficacité. Pour l’atteindre, un rôle fondamental est attribué à la phantasia, assimilée par la plupart des auteurs anciens à ce qui, dans le discours, produit des « images ». Le texte qui suit s’arrête à démontrer, d’une part, la place occupée par Pseudo-Longin dans le long débat philosophique (...) et rhétorique sur la phantasia et, d’autre part, sa contribution à la compréhension de celle-ci. Associée par métonymie à la vision, la phantasia s’adresse à l’ensemble des sensations et correspond à l’art de faire sentir le discours en chair propre. Réussie, elle permet la communication des sensations entre le discours, l’orateur et le public. (shrink)

This paper is a systematic comparison between two well–known and theologically relevant concepts – the sublime as developed in Kant’s third Critique, and Marion’s saturated phenomenon. Although it discusses the significant and apparent similarities between them, it also criticizes Marion’s identification of the sublime as a possible example of a saturated phenomenon. This is primarily because of the different origins and philosophical presuppositions guiding the elaboration of these two ideas. Kant’s aim is to confine the reception of the phenomenon to (...) the conditions of experience, so that both in the case of judg-ments of beauty and judg-ments of the sublime, the subject achieves pleasure through self-centred appreciation of its rational capacities. Marion’s saturated phenomenon, on the other hand, aims at dispensing with the ‘metaphysical’ horizon of either the object, or the transcendental subject, in favour of passive appropriation of givenness. Although both are meant to describe what happens when the limits of understanding are breached, in the sublime this breach only serves to reinforce the capacity of the rational subject, whereas in the saturated phenomenon it points to the possibility of apprehension of the totally Other as purely given. (shrink)

Current understandings of the sublime are focused by a single word and by a single author. The sublime is not a word: it is a concept and an experience, or rather a whole range of ideas, meanings and experiences that are embedded in conceptual and experiential patterns. Once we train our sights on these patterns a radically different prospect on the sublime in antiquity comes to light, one that touches everything from its range of expressions to its dates of emergence, (...) evolution, role in the cultures of antiquity as a whole, and later reception. This book is the first to outline an alternative account of the sublime in Greek and Roman poetry, philosophy, and the sciences, in addition to rhetoric and literary criticism. It offers new readings of Longinus without privileging him, but instead situates him within a much larger context of reflection on the sublime in antiquity. (shrink)

A survey of Kant's philosophical writings reveals an ongoing concern with the problem of moral motivation. The problem is expressed thusly: How can a judgment of the understanding provide a motive sufficient to move the will to an action? ;Kant provides one line of argument in his formal writings on moral theory. The feeling of respect that follows from the recognition of the nobility of the universal moral law provides the motivation or incentive. Through this feeling we are aware that (...) we are beings that belong to an intelligible world that is independent of the mechanism of the sensible world. We are made aware of a higher, supersensible vocation and thus the sublimity of our own nature. ;There is another line of argument, however. A survey of Kant's philosophical writings also reveals a connection between the moral and the aesthetic. In the second Critique duty is called sublime; in his lectures on Ethics from the mid-1760's the feeling that results from free moral action is described as beautiful or sublime. In the Observations on the Feeling of the Beautiful and the Sublime the sublime is described as a "finer" feeling that moves us as we see the dignity of our own nature displayed in presentations of virtue. In the Critique of Judgment the feeling of the sublime is an experience that makes us aware of our supersensible vocation. Awareness of our supersensible nature through the feeling of pleasure and displeasure provides additional moral motivation and supports the incentive provided by the cognitive faculty's formulation of the moral law. ;A survey of Kant's philosophical writings and especially the unpublished lectures on Ethics, Logic and Metaphysics reveals a continuity in Kant's thought in terms of the relation between the moral and the aesthetic and in terms of concern with the problem of moral motivation. The third Critique was intended as the "keystone of the critical arch," but Kant apparently was not satisfied. The Opus postumum reveals the unity Kant was seeking: the supersensible and the sensible are united in the human person through the feeling of pleasure and displeasure. (shrink)

Aesthetics, both in its theoretical and empirical forms, has seen a renewed interest in the sublime, an aesthetic category dear to traditional philosophers, but quite neglected by contemporary philosophy. Our aim is to offer a novel perspective on the experience of the sublime. More precisely, our hypothesis is that the latter arises from ‘a radical limit-experience’, which is a metacognitve awareness of the limits of our cognitive capacities as we are confronted with something indefinitely greater or more powerful than us. (...) This hypothesis better explains the negative feelings involved in the experience of the sublime and accounts for its demarcation from other experiences (for example, terrible beauty). Experiences of the sublime have an overall positive valence, though. We will explore different ways in which a subject can try to overcome the negative evaluation involved in radical limit-experiences, and suggest that only one of them is appropriate to experiences of the sublime. (shrink)

This edited collection had its origins in a two-day conference held at the Tate Britain, organised collaboratively by research staff and students at Middlesex University and the London Consortium in order to celebrate the 250th Anniversary of the publication of Edmund Burke's famous book on the sublime. The conference was funded by Middlesex University, the London Consortium and the Tate Britain's AHRC-funded "Sublime Object: Nature, Art and Language" research project. The conference set out to critically examine the legacy of the (...) sublime in contemporary art, culture and society and to assess the value and the dangers of this concept as it is articulated in current thought and practice. The book selected from and expanded on the papers delivered at the conference in order to pursue this goal further. It was broken into themed sections (each of which had an introduction), each exploring an different issue around contemporary uses of the sublime. The sections were: 1. Nature, Ecology and the Sublime; 2. The Sublime After Kant; 3. Capitalism, Terror, Art and the Sublime; 4. Baroque and Beyond: Art, Sex and the Sublime; 5. The Cinematic Sublime. The volume reflects the interdisiplinarity of the concept of the sublime today, and includes essays whose appraoches come from aesthetics and ethics, ecological and political thought, psychoanalysis, feminism, film studies, literary studies, art history and popular culture. It includes papers by internationally renowned authors from the UK, America and Europe alongside the new voices of younger academics. The contributors were: Jane Bennett (Johns Hopkins University), Mark Bould (University of the West of England), Eu Jin Chua (London Consortium), Gudrun Filipska (Middlesex University), Cornelia Klinger (Institute for Human Sciences, Vienna / University of Tübingen, Germany), Esther Leslie (Birkbeck), William McDonald (Middlesex Univeristy), Laura Mulvey (Birkbeck), Claire Pajaczkowska (Royal College of Art), Griselda Pollock (University of Leeds), Gene Ray (Geneva University of Art and Design), Bettina Reiber (Central St. Martins), Jan Rosiek (University of Copenhagen), Sherryl Vint (Brock University, Canada), and Luke White (Middlesex University). (shrink)

From the Copernican revolution of Immanuel Kant to the cognitive mapping of Fredric Jameson to the postcolonial politics of Gayatri Chakravorty Spivak, representation has been posed as both indispensable and impossible. In his pathbreaking work, _The Abyss of Representation_, George Hartley traces the development of this impossible necessity from its German Idealist roots through Marxist theories of postmodernism, arguing that in this period of skepticism and globalization we are still grappling with issues brought forth during the age of romanticism and (...) revolution. Hartley shows how the modern problem of representation—the inability of a figure to do justice to its object—still haunts today's postmodern philosophy and politics. He reveals the ways the sublime abyss that opened up in Idealist epistemology and aesthetics resurfaces in recent theories of ideology and subjectivity. Hartley describes how modern theory from Kant through Lacan attempts to come to terms with the sublime limits of representation and how ideas developed with the Marxist tradition—such as Marx’s theory of value, Althusser’s theory of structural causality, or Zizek’s theory of ideological enjoyment—can be seen as variants of the sublime object. Representation, he argues, is ultimately a political problem. Whether that problem be a Marxist representation of global capitalism, a deconstructive representation of subaltern women, or a Chicano self-representation opposing Anglo-American images of Mexican Americans, it is only through this grappling with the negative, Hartley explains, that a Marxist theory of postmodernism can begin to address the challenges of global capitalism and resurgent imperialism. (shrink)

The claim advanced in this paper is that the radicalisation of Kant’s project of the critique of metaphysics can be said to culminate in the fusion of two, traditionally opposed, terms - immanence and sublimity. Starting with a discussion of Kant's 'Analytic of the Sublime', the paper pursues its main claim through the reading of key texts in the thought of Nietzsche, Heidegger and Deleuze/Guattari. It attempts to clarify the dfferent senses of the'immanent sublime' it suggests is found in the (...) texts of these different thinkers and argues that the more naturalistically inclined and orientated versions are the most rigorous. (shrink)

The sublime has come under severe criticism in recent years. Jane Forsey, for instance, has argued that all theories of the sublime “rest on a mistake”. In her article, “The Pleasures of Contra-purposiveness: Kant, the Sublime, and Being Human,” Katerina Deligiorgi () provides a rejoinder to Forsey. Deligiorgi argues—with the help of Kant—that a coherent theory of the sublime is possible, and she provides a sketch for such a theory. Deligiorgi makes good progress in the debate over the sublime. But (...) here I raise two questions in relation to her account. The aim of these questions is to help clarify and augment her theory and thus extend the discussion about the tenability and relevance of the sublime. The first question is about the pleasure of the sublime. The pleasure, she claims, comes from our catching a glimpse of ourselves as agents in the world. But, I argue, Deligiorgi's conception of agency is insufficient for explaining the pleasure of sublimity, and this is because she does not take into account what I call the “ends of reason,” those ends that matter most to us as agents. The second question pertains to the phenomenology of the sublime. The worry here is that Deligiorgi overcomplicates the subject's experience and, in doing so, greatly restricts the scope of the sublime. (shrink)