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  1. Stimmung: From Mood to Atmosphere.Angelika Krebs - 2017 - Philosophia 45 (4):1419-1436.
    Unlike human beings, landscapes, cities and buildings cannot feel anything in the literal sense. They do not have nervous systems. Nevertheless, we attribute “Stimmungen” such as peacefulness and melancholy to them. On what basis? With what right? And why does it matter anyway? This paper attempts an answer to this bunch of questions. The first section clarifies the concept of “Stimmung,” by distinguishing its three major meanings, namely harmony, mood and atmosphere. Section two discusses various models of how “Stimmung” is (...)
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  • Acquaintance and the Sublime: An Alternative Account of Theistic Sublime Experience.Thomas Atkinson - 2017 - International Journal for Philosophy of Religion 82 (2):175-193.
    In this paper I argue that when one has an epiphany of the form ‘God is F’ upon having a sublime experience one can be accurately described as being acquainted with the fact that God is F as opposed to inferring that God is F from the experience at hand. To argue for this, I will, first, outline what a sublime experience is, in general, before outlining what a theistic sublime experience is in particular. Second, I will outline two ways (...)
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  • At the Limits: What Drives Experiences of the Sublime.Jérôme Dokic & Margherita Arcangeli - 2020 - British Journal of Aesthetics (2):145-161.
    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. (...)
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  • In Defense of Wild Night.Kimberly M. Dill - forthcoming - Ethics, Policy and Environment:1-25.
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  • The Sublime.Melissa McBay Merritt - 2018 - New York: Cambridge University Press.
    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 (...)
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  • Awe and the Experience of the Sublime: A Complex Relationship.Margherita Arcangeli, Marco Sperduti, Amélie Jacquot, Pascale Piolino & Jérôme Dokic - 2020 - Frontiers in Psychology 11.
    Awe seems to be a complex emotion or emotional construct characterized by a mix of positive (contentment, happiness), and negative affective components (fear and a sense of being smaller, humbler or insignificant). It is striking that the elicitors of awe correspond closely to what philosophical aesthetics, and especially Burke and Kant, have called “the sublime.” As a matter of fact, awe is almost absent from the philosophical agenda, while there are very few studies on the experience of the sublime as (...)
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  • Art and Emotion.Filippo Contesi - 2018 - Oxford Bibliographies in Philosophy.
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  • La Φαντασία du Poète Et de L’Orateur Dans le Traité Περὶ Ὕψους de Pseudo-Longin : Dénouement D’Un Débat ancienThe Phantasia of the Poet and of the Orator in the Pseudo-Longinus’s On the Sublime: The Last Act of an Ancient Debate.Alexis Richard & Vanessa Molina - 2019 - Methodos 19.
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