The literature on the venerable aesthetic category of the sublime often provides us with lists of sublime phenomena — mountains, storms, deserts, volcanoes, oceans, the starry sky, and so on. But it has long been recognized that what matters is the experience of such objects. We then find that one of the most consistent claims about this experience is that it involves an element of fear. Meanwhile, the recognition of the sublime as a category of aesthetic appreciation implies that attraction, (...) admiration or pleasure is also present.1However, there is also a sense of fear and attraction when we watch car chases or fights. Neither of these is an occasion for the sublime so much as a visceral sort of excitement.2 As .. (shrink)

In the Critique of the Power of Judgment , Kant mentions transcendental and physiological judgments in their relationship to the sublime. He further mentions that for the best physiological treatment, one must look to Edmund Burke’s A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful . Whereas for Burke, the feeling of the sublime “is based on the impulse toward self-preservation and on fear,” for Kant it is the mind that “is not merely attracted by (...) the object, but is also always reciprocally repelled by it,” which provides the basis for the transcendental exposition of aesthetic judgements. How does a reading of Burke in which “we shrink into the minuteness of our own nature, and are, in a manner, annihilated before the almighty power,” on the one hand, and Kant’s view of relation and purposiveness in transcendental judgements, on the other hand, aid us in a deeper understanding of the fear of God? Furthermore, how might these two authors connect or interact with contemporary theories of emotion, specifically the discussion of ‘ambivalent emotions’? In this paper, I hope to both open a discussion of Burke and Kant in relation to their respective readings of the sublime and the fear of God as well as open a discussion of emotions regarding a ‘mighty object’ to whom my ambivalent emotion is directed. (shrink)

Edmund Burke’s speeches and writings during the trial of Warren Hastings—from 1788 to 1795—remain one of the most comprehensive assessments of the effects of colonial trade and territorial expansion on Britain’s nationalist self. A rhetorical reading of his prosecution speeches reveals how they affected the public response to the trial by evoking the sublime and framing terror as the basic feature of Britain’s mercantile imperialist agenda in the colonies. Moreover, by associating Hastings’s governance of Bengal with sublime terror, Burke altered (...) the interpretations of virtue and corruption, thus distancing both Britain and India from the rampant profiteering of the East India Company. Burke’s critique of the degenerative influences of commercial imperialism along with the reformulation of his ideas in subsequent colonial historiography is crucial for assessing how the aesthetics of the sublime conferred greater moral force to the sporadic and fragmented reports about the Company’s abuses of power in India. (shrink)

This paper develops a historical and systematic typology of perceptions of wilderness that exist in contemporary western European cultures. After describing notions of wilderness associated with worldviews that emerged during the Enlightenment period and as a critical response to it, we outline four recent transformations of these traditional notions of wilderness: wilderness as an ecological object, as a place of nature's self-reassertion, as a place of thrill and as a sphere of amorality and meaninglessness. In our conclusion, we suggest what (...) practical relevance arises from such a nuanced understanding of the inherently ambiguous concept of wilderness. (shrink)

The German filmmaker Werner Herzog controversially associates “truth” and “reality” in film with Kant’s notion of the sublime by explicitly treating the sublime as a key element in developing his notion of ecstatic truth. I critically examine Herzog’s interpretation of Kant’s sublime and the relations he establishes between the sublime and his own key aesthetic notion of ecstatic truth. I examine how the sublime in Herzog’s films arises from encounters with the overwhelming force and power of nature experienced by his (...) characters in the feature films and participants in the documentaries. I question whether Kant’s conception of the sublime is the one that best aligns with Herzog’s aesthetic aims and I contrast Kant’s transcendental sublime with what I describe as the physiological sublime of Edmund Burke. I draw some conclusions about the moral dimension of the sublime in the context of the relationship between humans and nature within the frame of contemporary ecological concerns. (shrink)