Kant says that there is a close affinity between the sublime and moral feelings of respect. This suggests a relatively unexplored way that aesthetic experience could be morally improving. We could come to respect persons by experiencing them as sublime. Unfortunately, this is not at all our ordinary experience of people, and it’s not clear how one would come to it. In this paper I argue that this possibility is realized in the portraits of Thomas Eakins. Through a handful of (...) specific techniques, Eakins suggests an incomparable psychological depth to the subjects of his portraits, a suggestion that causes the viewer to experience that subject as sublime in a way not unlike their experience of a vast ocean or endless abyss. -/- . (shrink)

“The sublime is a massive concept,” Emily Brady states in her book’s first sentence. Her lucid study of the sublime should interest scholars from a wide range of disciplines, from environmental philosophy and aesthetics to the history of philosophy, art history, and literary criticism. Although its title refers to modern philosophy, the book examines not only the period typically classified in philosophy as “modern,” but also romanticism and contemporary aesthetics. Brady aims “to reassess, and to some extent reclaim, the meaning (...) of the sublime as developed during its heyday in eighteenth-century aesthetic theory by the likes of Addison, Burke, Kant, and others, and mark out its relevance for contemporary debates... (shrink)

The aesthetic category of the sublime has been theorized (especially in the Kantian tradition) as integrally intertwined with the moral. Paradigmatic experiences of the sublime, such as gazing up at the starry night sky, or out at a storm-whipped sea, lead in a moral or religious direction depending on the cognitive stock brought to the experience, since they typically involve a feeling of awe and reflection on the peculiar situation of the human being in nature. The monumental is a similar (...) aesthetic category, integrally intertwined with the political, but, by contrast, has garnered almost no attention from aestheticians. My main goal in this paper is to sketch a theory of ‘the monumental’ as an aesthetic category—one that is a species of the sublime but differs qualitatively from the natural/environmental sublime in significant ways, and thus merits a distinctive label. In doing so, I aim to shed light on the nature and power of monuments specifically, and to begin to address a lacuna in our understanding of a long-standing and culturally important form of public art. (shrink)

At the end of section §6 in the Analytic of the Beautiful, Kant defines taste as the “faculty for judging an object or a kind of representation through a satisfaction or dissatisfaction without any interest”. On the face of it, Kant’s definition of taste includes both; positive and negative judgments of taste. Moreover, Kant’s term ‘dissatisfaction’ implies not only that negative judgments of taste are those of the non-beautiful, but also that of the ugly, depending on the presence of an (...) actual displeasure. (shrink)