The Sublime

Edited by Robert R. Clewis (Gwynedd Mercy University, Ludwig Maximilians Universität, München)
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Siblings:See also:History/traditions: The Sublime

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  1. added 2019-06-05
    The Sublime, Ugliness and Contemporary Art: A Kantian Perspective.Mojca Kuplen - 2015 - Con-Textos Kantianos: International Journal of Philosophy 1 (1):114-141.
    The aim of this paper is twofold. First, to explain the distinction between Kant’s notions of the sublime and ugliness, and to answer an important question that has been left unnoticed in contemporary studies, namely why it is the case that even though both sublime and ugliness are contrapurposive for the power of judgment, occasioning the feeling of displeasure, yet that after all we should feel pleasure in the former, while not in the latter. Second, to apply my interpretation of (...)
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  2. added 2019-05-08
    The Sublime Aesthetic And Nineteenth-Century Representations Of The Victoria Falls.John Mcaleer - 2004 - Postgraduate Journal of Aesthetics 1 (3).
    Recent academic fashions have posited visual images of colonial landscape space as forming part of a network of intellectual influences that promoted both a culture of imperialism and an imperial culture in the nineteenth century. Frequently these analyses concentrate on constructing an overarching socio-political interpretation into which to place this art, thereby ignoring the influence of artistic and aesthetic theory in the creation, assessment and reception of these images.
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  3. added 2018-01-17
    Simulating the Unpresentable and the Sublime.Jung-In Kwon - 2005 - Analecta Husserliana 55 (63).
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  4. added 2017-09-07
    Sublimity and Human Works: Kant on Tragedy and War.Gene Fendt - 1995 - Proceedings of the Eighth International Kant Congress 2:509-517.
    Kant admits that there are two kinds of human works that have something sublime about them, the work of the poet, e.g., tragedy, and the work of the politician, i.e., war. This paper will explore Kant's reasoning about the sublime element in these two human works.
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  5. added 2016-08-02
    Art, Terrorism and the Negative Sublime.Arnold Berleant - 2009 - Contemporary Aesthetics 7.
    The range of the aesthetic has expanded to cover not only a wider range of objects and situations of daily life but also to encompass the negative. This includes terrorism, whose aesthetic impact is central to its use as a political tactic. The complex of positive and negative aesthetic values in terrorism are explored, introducing the concept of the sublime as a negative category to illuminate the analysis and the distinctive aesthetic of terrorism.
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  6. added 2016-06-13
    The Compass of Beauty: A Search for the Middle.Lars Spuybroek - forthcoming - In Maria Voyatzaki (ed.), Architectural Materialisms: Nonhuman Creativity. Edinburgh University Press.
    This chapter is a rethinking of my earlier “The Ages of Beauty” which investigated Charles Hartshorne’s Diagram of Aesthetic Values. The argument is placed in a long history of beauty being considered as the middle between extremes. It slowly develops into a structure not merely of aesthetic experience but of existence itself, making it a competitor of Heidegger’s fourfold.
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  7. added 2016-06-12
    The Acrobatics of the Figure: Piranesi and Magnificence.Lars Spuybroek - 2015 - In Dr J. G. Wallis de Vries (ed.), ARCHESCAPE: The Piranesi Flights. 1001 Publishers. pp. 5-11.
    An essay, which I wrote for the catalog to the exhibition “ARCHESCAPE: the Piranesi Flights,” organized by the Dutch Piranesi scholar Gijs Wallis de Vries. The text, which is necessarily kept short, uses notions of the magnificent and the tragic that I discovered in Hartshorne’s Aesthetic Diagram as discussed in “The Ages of Beauty.”.
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  8. added 2016-06-04
    Introduction to Cosmological Aesthetics: The Kantian Sublime and Nietzschean Dionysian.Erman Kaplama - 2010 - International Journal of the Humanities 8 (2):69-84.
    This paper is founded on a close reading of Kant’s Opus Postumum in order both to explore the essential motivation that drove Kant to write a last comprehensive magnum opus and, by doing so, to show the essential link between his aesthetics and the idea of Übergang, the title of this last work. For this work contains not only his dynamical theory of matter defining motion as preliminary to the notions of space and time, and the advanced version of his (...)
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  9. added 2016-05-25
    Kantian and Nietzschean Aesthetics of Human Nature: A Comparison Between the Beautiful/Sublime and Apollonian/Dionysian Dualities.Erman Kaplama - 2016 - Cosmos and History 12 (1):166-217.
    Both for Kant and for Nietzsche, aesthetics must not be considered as a systematic science based merely on logical premises but rather as a set of intuitively attained artistic ideas that constitute or reconstitute the sensible perceptions and supersensible representations into a new whole. Kantian and Nietzschean aesthetics are both aiming to see beyond the forms of objects to provide explanations for the nobility and sublimity of human art and life. We can safely say that Kant and Nietzsche used the (...)
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  10. added 2016-05-24
    The Cosmological Aesthetic Worldview in Van Gogh’s Late Landscape Paintings.Erman Kaplama - 2016 - Cosmos and History 12 (1):218-237.
    Some artworks are called sublime because of their capacity to move human imagination in a different way than the experience of beauty. The following discussion explores how Van Gogh’s The Starry Night along with some of his other late landscape paintings accomplish this peculiar movement of imagination thus qualifying as sublime artworks. These artworks constitute examples of the higher aesthetic principles and must be judged according to the cosmological-aesthetic criteria for they manage to generate a transition between ethos and phusis (...)
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  11. added 2015-08-25
    Lo sguardo a picco: Sul sublime in Filostrato.Filippo Fimiani - 2002 - Studi di Estetica 26:147-170.
    This paper is dedicated to the Εἰκόνες of the two Philostrati and to the Ἐκφράσεις of Callistratus, that is to say to three Greek works that bear important witness to the genre of art criticism in Antiquity and which concern both literary history and the history of art. The first series of Εἰκόνες is the work of Philostratus the Elder (2nd-3rd century AD) and comprises sixty-five descriptions of paintings with mythological subjects, which the author assures us he has seen in (...)
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  12. added 2014-10-03
    The Ages of Beauty: Revisiting Hartshorne's Diagram of Aesthetic Values.Lars Spuybroek - 2012 - In A. Mulder (ed.), Vital Beauty: Reclaiming Aesthetics in the Tangle of Technology and Nature. pp. 32-63.
    This long essay was published in Vital Beauty, a collection including Wendy Steiner and Tim Ingold, which investigates the possibility of new ways toward beauty. This is my first encounter with Hartshorne’s Diagram of Aesthetic Values, a mandala-like structure explaining the relations between aesthetic experiences. The essay looks into the awkward history of the diagram in Hartshorne’s philosophy, its connection to Max Dessoir’s work, to Whitehead’s chapter on beauty in Adventures of Ideas and the notion of creativity in Schelling.
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  13. added 2014-03-17
    Il Sublime Romantico: Storia di Un Concetto Sommerso.Giovanna Pinna - 2007 - Centro Internazionale Studi di Estetica.
    That there is a connection between Romanticism and the sublime seems obvious, and it is indeed evident in the poetic, artistic, and musical production of European Romanticism as a whole. The sublime, as tension toward infinity, as elevation of the soul, and as experience of the absolute in nature, constitutes undoubtedly one of the characterizing features of the poetics of Romanticism. Much less known, however, is the theoretical reflection on the concept of the sublime, and in fact scholarship on the (...)
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  14. added 2012-09-26
    Religion and the Sublime.Andrew Chignell & Matthew C. Halteman - 2012 - In Timothy M. Costelloe (ed.), The Sublime: From Antiquity to the Present. Cambridge: Cambridge University Press.
    An effort to lay out a kind of taxomony of conceptual relations between the domains of the sublime and the religious. Warning: includes two somewhat graphic images. -/- .
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  15. added 2011-09-23
    Crowther and the Kantian Sublime in Art.C. E. Emmer - 2008 - In Valerio Rohden, Ricardo R. Terra & Guido A. de Almeida (eds.), Recht und Frieden in der Philosophie Kants, Akten des X. Internationalen Kant-Kongresses. Walter de Gruyter.
    Paul Crowther, in his book, The Kantian Sublime (1989), works to reconstruct Kant's aesthetics in order to make its continued relevance to contemporary aesthetic concerns more visible. The present article remains within the area of Crowther's "cognitive" sublime, to show that there is much space for expanding upon Kantian varieties of the sublime, particularly in art.
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