Results for 'Sublime, The. '

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  1. The Sublime, The Event And Graffiti.Connell Vaughan - 2010 - Postgraduate Journal of Aesthetics 7 (2):50-61.
    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, (...)
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  2. Beautiful and sublime: the aesthetics of running in a commodified world.Tim Gorichanaz - 2016 - Journal of the Philosophy of Sport 43 (3):365-379.
    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 (...)
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  3. The Sublime of Consciousness.Takuya Niikawa & Uriah Kriegel - forthcoming - British Journal of Aesthetics.
    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 (...)
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  4. The Sublime in the Pedestrian: Figures of the Incognito in Fear and Trembling.Martijn Boven - 2021 - History of European Ideas 47 (3):500-513.
    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 (...)
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  5. The emotional experience of the sublime.Tom Cochrane - 2012 - Canadian Journal of Philosophy 42 (2):125-148.
    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, (...)
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  6.  26
    Play, sport, and the creativity of sublimation: Understanding the importance of unimportant activities.Jack Black - 2024 - In Jack Black & Joseph S. Reynoso (eds.), Sport and Psychoanalysis: What Sport Reveals about Our Unconscious Desires, Fantasies, and Fears. Lexington Books.
    Understandings of play are frequently tied to a sense of instinctual gratification—a something that must be completed, that all humans, young or old, should or need to partake in. Indeed, for many, play is characterised as a unique activity that stands apart from the ordinary and every day. While such assessments prefigure a clear demarcation between the fun of play and the more laborious, boring aspects of profane life, what this distinction alludes to is a greater sense of the creativity (...)
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  7. The Sublime, Ugliness and Contemporary Art: A Kantian Perspective.Mojca Kuplen - 2015 - Con-Textos Kantianos 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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  8. Sublimity and Joy: Kant on the Aesthetic Constitution of Virtue.Melissa Merritt - 2017 - In Matthew C. Altman (ed.), The Palgrave Kant Handbook. London: Palgrave Macmillan. pp. 447-467.
    This chapter argues that Kant’s aesthetic theory of the sublime has particular relevance for his ethics of virtue. Kant contends that our readiness to revel in natural sublimity depends upon a background commitment to moral ends. Further lessons about the emotional register of the sublime allow us to understand how Kant can plausibly contend that the temperament of virtue is both sublime and joyous at the same time.
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  9. Exploring the Deduction of the Category of Totality from within the Analytic of the Sublime.Levi Haeck - 2020 - Con-Textos Kantianos 1 (12):381-401.
    I defend an interpretation of the first Critique’s category of totality based on Kant’s analysis of totality in the third Critique’s Analytic of the mathematical sublime. I show, firstly, that in the latter Kant delineates the category of totality — however general it may be — in relation to the essentially singular standpoint of the subject. Despite the fact that sublime and categorial totality have a significantly different scope and function, they do share such a singular baseline. Secondly, I argue (...)
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  10. The Sublime.Melissa 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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  11. The Moral Source of the Kantian Sublime.Melissa McBay Merritt - 2012 - In Timothy M. Costelloe (ed.), The sublime: from antiquity to the present. Cambridge: Cambridge University Press.
    A crucial feature of Kant's critical-period writing on the sublime is its grounding in moral psychology. Whereas in the pre-critical writings, the sublime is viewed as an inherently exhausting state of mind, in the critical-period writings it is presented as one that gains strength the more it is sustained. I account for this in terms of Kantian moral psychology, and explain that, for Kant, sound moral disposition is conceived as a sublime state of mind.
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  12. Kantian Sublimity and Supersensible Comfort: A Case for the Mathematical Sublime.José Luis Fernández - 2020 - Journal of Comparative Literature and Aesthetics 43 (2):24-34.
    Immanuel Kant’s work on the sublimity of aesthetic experience lends itself to puzzlement, if not misclassification. Complicating matters, Kant distinguishes between two kinds of sublimity: respectively, the “mathematical” and “dynamical” sublime. More mystifying is that the sublime is ineffable, beyond the ken of human comprehension. These perplexities notwithstanding, Kant argues that sublime sentiment produces a feeling of supersensible comfort. Commentators identify this comfort emanating most strongly from the dynamical sublime. However, in this paper I draw from the unity of reason (...)
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  13. The sublime Clara Mather.Kenneth Walden - 2019 - In Hans Maes (ed.), Portraits and Philosophy. New York, NY: Routledge.
    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 (...)
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  14. Subliming and subverting: an impasse on the contingency of scientific rationality.Chuanfei Chin - 2014 - Journal of the Philosophy of History 8 (2):311-331.
    What is special about the philosophy of history when the history is about science? I shall focus on an impasse between two perspectives — one seeking an ideal of rationality to guide scientific practices, and one stressing the contingency of the practices. They disagree on what this contingency means for scientific norms. Their impasse underlies some fractious relations within History and Philosophy of Science. Since the late 1960s, this interdisciplinary field has been described, variously, as an “intimate relationship or marriage (...)
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  15. The Necessity of Feeling in Unamuno and Kant: For the Tragic as for the Beautiful and Sublime.José Luis Fernández - 2019 - In Abi Doukhan & Anthony Malagon (eds.), The Religious Existentialists and the Redemption of Feeling. Lanham: Lexington Books. pp. 103-115.
    Miguel de Unamuno’s theory of tragic sentiment is central to understanding his unique contributions to religious existential thought, which centers on the production of perhaps the most unavoidable and distinctive kind of human feeling. His theory is rightly attributed with being influenced by the gestational thought of, inter alios, Schopenhauer, Kierkegaard, and Nietzsche, but within these pages I should like to suggest a peculiar kinship between seemingly strange bedfellows, namely, between Unamuno and Immanuel Kant. Although the relationship between Unamuno and (...)
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  16. The idea of sublime.Victor Mota - manuscript
    sublime and sublimation, between ascetism en religious practice, social order and cultural feelings.
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  17. The Sublime in popular Science.Jamie Freestone - 2019 - Dissertation, University of Queensland
    There are two ironies in the popular science genre. First, it seeks to simplify even as it confounds. Authors in this genre have simultaneously to evoke awe-inspiring, sublime imagery, while also rendering the content easily accessible to a non-expert audience. Second, in doing so they undermine the naive realism of scientific orthodoxy and the liberal humanist subject that is their implied reader. The first irony occurs because of the use of the epistemological sublime, which is a rough cognate with awe, (...)
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  18. Il sublime romantico: storia di un concetto sommerso.Giovanna Pinna - 2007 - Palermo: 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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  19.  82
    Nature, Fine Art, and The Other One: A Defense of the Artistic Sublime in Kant.Shelby Alexis Blevins - manuscript
    In the Critique of the Power of Judgment, Immanuel Kant characterizes the sublime as a negative pleasure derived from the encounter with something absolutely great. Some scholars have claimed that Kant’s notion of the sublime only applies to objects in nature (Abaci 2008, 239). Others contend that the object that provokes the sublime experience is not confined to objects of nature since the sublime is an experience in the mind (Clewis 2010, 169). This paper argues that Kant’s Critique and the (...)
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  20. Intensity and the Sublime: Paying Attention to Self and Environment in Nature Sports.Leslie A. Howe - 2017 - Sport, Ethics and Philosophy 13 (1):1-13.
    This paper responds to Kevin Krein’s claim in that the particular value of nature sports over traditional ones is that they offer intensity of sport experience in dynamic interaction between an athlete and natural features. He denies that this intensity is derived from competitive conflict of individuals and denies that nature sport derives its value from internal conflict within the athlete who carries out the activity. This paper responds directly to Krein by analysing ‘intensity’ in sport in terms of the (...)
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  21. Crowther and the Kantian Sublime in Art.C. E. Emmer - 2008 - In Valerio Rohden, Ricardo Terra, Guido Antonio Almeida & Margit Ruffing (eds.), Recht und Frieden in der Philosophie Kants: Akten des X. Internationalen Kant-Kongresses. Berlin, Germany: 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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  22. 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. pp. 183-202.
    Warning: includes two somewhat graphic images. This paper is an effort to lay out a taxomony of conceptual relations between the domains of the sublime and the religious. -/- .
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  23. The significance of Nichtigkeit in Schopenhauer’s account of the sublime.Patrick Hassan - 2023 - In David Bather Woods & Timothy Stoll (eds.), The Schopenhauerian mind. New York, NY: Routledge.
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  24. 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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  25. 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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  26. Consciousness is Sublime.Takuya Niikawa - forthcoming - Ergo: An Open Access Journal of Philosophy.
    Does consciousness have non-instrumental aesthetic value? This paper answers this question affirmatively by arguing that consciousness is sublime. The argument consists of three premises. (1) An awe experience of an object provides prima facie justification to believe that the object is sublime. (2) I have an awe experience about consciousness through introspecting three features of consciousness, namely the mystery of consciousness, the connection between consciousness and well-being, and the phenomenological complexity of consciousness. (3) There is no good defeater of the (...)
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  27. On Jane Forsey’s Critique of the Sublime.Jennifer A. McMahon - 2017 - In Lars Aagaard-Mogensen (ed.), The Possibility of the Sublime: Aesthetic Exchanges. Newcastle, GB: Cambridge Scholars Publishing. pp. 81-91.
    The sublime is an aspect of experience that has attracted a great deal of scholarship, not only for scholarly reasons but because it connotes aspects of experience not exhausted by what Descartes once called clear distinct perception. That is, the sublime is an experience of the world which involves us in orientating ourselves within it, and this orientation, our human orientation, elevates us in comparison to the non-human world according to traditional accounts of the sublime. The sublime tells us something (...)
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  28. A Critical Assessment Of The Role Of The Imagination In Kant’s Exposition Of The Mathematical Sublime.Richard Stopford - 2007 - Postgraduate Journal of Aesthetics 4 (3):24-31.
    Kant argues in the Critique of Judgment (CJ) that there are two distinct modes of the sublime. This essay will concentrate on the mathematical mode. It is helpful to begin an examination of the mathematical sublime by elucidating the difference between logical estimation and aesthetic estimation; it is aesthetic estimation under strain, so Kant argues, that instigates the moment of the sublime. Logical estimation forms the cognitive basis of scientific calculations. He argues that scientific enquiry only requires an understanding of (...)
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  29. The self and the sublime : a comparative study in the philosophy of education.Julian Humphreys - 2002 - Dissertation, Mcgill University
    In this thesis I discuss personal identity as it relates to authoritative contexts. I show how these contexts confer meaning on personal and cultural narratives, which in turn confer meaning on facts and knowledge claims. I outline three conceptions of the self and sublime, and address the implications of these for education. In conclusion I isolate a common product of all three perspectives---unconditional love---and recommend a 'will to positive description' as a necessary and desirable pedagogical goal.
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  30. Can there be a Finite Interpretation of the Kantian Sublime?Sacha Golob - 2019 - Kant Yearbook 11 (1):17-39.
    Kant’s account of the sublime makes frequent appeals to infinity, appeals which have been extensively criticised by commentators such as Budd and Crowther. This paper examines the costs and benefits of reconstructing the account in finitist terms. On the one hand, drawing on a detailed comparison of the first and third Critiques, I argue that the underlying logic of Kant’s position is essentially finitist. I defend the approach against longstanding objections, as well as addressing recent infinitist work by Moore and (...)
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  31. 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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  32. Cosmological Aesthetics Through the Kantian Sublime and Nietzschean Dionysian.Erman Kaplama - 2013 - Lanham: UPA, Rowman & Littlefield.
    This book 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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  33. The Sublime Visions of Philosophy: Fundamental Ontology and the Imaginal World (‘Ālam al–mithāl).Mohammad Azadpur - 2006 - In Anna-Teresa Tymieniecka (ed.), Islamic Philosophy and Occidental Phenomenology on the Perennial Issue of Microcosm and Macrocosm. pp. 183-201.
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  34. Turn from Sensibility to Rationality: Kant’s Concept of the Sublime.Zhengmi Zhouhuang - 2018 - In Stephen Palmquist (ed.), Kant on Intuition: Western and Asian Perspectives on Transcendental Idealism. New York: Routledge. pp. 179-191.
    Show more ▾ There are various dichotomies in Kant’s philosophy: sensibility vs. rationality, nature vs. freedom, cognition vs. morality, noumenon vs. phenomenon, among others. There are also different ways of mediating these dichotomies, which is the systematic undertaking of Kant’s Critique of the Power of Judgment. One of the most important concepts in this work is the sublime, which exemplifies the connections between the different dichotomies; this fact means the concept’s construction is full of tension. On the one hand, as (...)
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  35. Review: Clewis, The Kantian Sublime and the Revelation of Freedom[REVIEW]Melissa McBay Merritt - 2010 - British Journal for the History of Philosophy 18 (3):529-532.
    Review of Robert Clewis, _The Kantian Sublime and the Revelation of Freedom_.
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  36. The Possibility of the Sublime: Aesthetic Exchanges. [REVIEW]Eric MacTaggart - 2019 - American Society for Aesthetics Graduate E-Journal 11 (1).
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  37. Sublimation and Affirmation in Nietzsche's Psychology.Joseph Swenson - 2014 - Journal of Nietzsche Studies 45 (2):196-209.
    ABSTRACT Nietzsche sometimes offers the elusive suggestion that his psychology is not just original, but inaugural: a “first” in the field of philosophy. This article argues that a clue to his inaugural ambitions is discovered in his novel use of sublimation as a concept that engages in both a genealogical critique and a therapeutic reassessment of the basic prejudices of value dualism that he claims constitute the evaluative core of the Western tradition. Genealogically, sublimation provides Nietzsche with a new structure (...)
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  38.  55
    The Zombie Sublime.John Gibson - forthcoming - In E. Comentale & A. Jaffe (eds.), The Year's Work in Zombie Studies. Indiana University Press.
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  39. Liberal Naturalism , Aesthetic Reflection, and the Sublime.Jennifer A. McMahon - 2022 - In Mario De Caro & David Macarthur (eds.), The Routledge Handbook of Liberal Naturalism. New York, NY: Routledge. pp. 281-298.
    According to the scientific image, aesthetic experience is constituted by private reverie or mindless gratification of some kind. This image fails to fully acknowledge the theoretical and hence cultural aspect of perception, which includes aesthetic experience. This chapter reframes aesthetic reflective judgment in terms of perceptual processes (section 2); intentional pleasure (section 3); non-perceptually represented perceptual properties (section 4); and intersubjectivity (section 5). By clarifying the relevant terms, the liberal naturalist account of the sublime provides the link between the sublime (...)
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  40. The Luminous Kundalini as the Expanding Luminous Field of Awareness Bring Forth Sublimation.PhD Rudolph Bauer, Rudolph Bauer - 2012 - Transmission 1 (Awareness).
    This paper focuses on the natural unfolding of the kundalini energy which is the expansion of the energy of awareness within the body.
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  41. Sublime Hunger: A Consideration of Eating Disorders Beyond Beauty.Sheila Lintott - 2003 - Hypatia 18 (4):65-86.
    In this paper, I argue that one of the most intense ways women are encouraged to enjoy sublime experiences is via attempts to control their bodies through excessive dieting. If this is so, then the societal-cultural contributions to the problem of eating disorders exceed the perpetuation of a certain beauty ideal to include the almost universal encouragement women receive to diet, coupled with the relative shortage of opportunities women are afforded to experience the sublime.
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  42. Textual Mysticism: Reading the Sublime in Philosophical Mysticism.Anwar Uhuru - 2020 - APA Newsletter on Philosophy and the Black Experience 19 (2):3-5.
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  43. Sensory augmentation and the tactile sublime.Yorick Berta - 2020 - Debates in Aesthetics 15 (1):11-33.
    This paper responds to recent developments in the field of sensory augmentation by analysing several technological devices that augment the sensory apparatus using the tactile sense. First, I will define the term sensory augmentation, as the use of technological modification to enhance the sensory apparatus, and elaborate on the preconditions for successful tactile sensory augmentation. These are the adaptability of the brain to unfamiliar sensory input and the specific qualities of the skin lending themselves to be used for the perception (...)
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  44. Philosophical Concepts, the Ideal of Sublimation, and the “Unpredictability of Human Behaviour”.Anja Weiberg - 2021 - Journal for the History of Analytical Philosophy 9 (4):27-37.
    Wittgenstein famously criticizes the philosophical practice of analyzing the meaning of words outside their ordinary use in everyday language, whereby often self-made pseudo-problems arise. In order to shed further light on Wittgenstein’s critique, this article makes use of the Remarks on the Philosophy of Psychology. First, starting from the remark in Vol. I, §52, his criticism of the philosophical method of selection and generalization is explained in detail. Next, I give a brief outline of Wittgenstein’s own way of philosophizing by (...)
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  45. Sensory Force, Sublime Impact, and Beautiful Form.Eli I. Lichtenstein - 2019 - British Journal of Aesthetics 59 (4):449-464.
    Can a basic sensory property like a bare colour or tone be beautiful? Some, like Kant, say no. But Heidegger suggests, plausibly, that colours ‘glow’ and tones ‘sing’ in artworks. These claims can be productively synthesized: ‘glowing’ colours are not beautiful; but they are sensory forces—not mere ‘matter’, contra Kant—with real aesthetic impact. To the extent that it inheres in sensible properties, beauty is plausibly restricted to structures of sensory force. Kant correspondingly misrepresents the relation of beautiful wholes to their (...)
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  46. Simulating the unpresentable and the sublime.Jung-In Kwon - 2005 - Analecta Husserliana 88.
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  47. Infinity and the Sublime.Karin Verelst - 2013 - Journal of Interdisciplinary History of Ideas 2 (4):1-27.
    In their recent work, L. Graham and J.-M. Kantor discuss a remarkable connection between diverging conceptions of the mathematical infinite in Russia and France at the beginning of the twentieth century and the religious convictions of their respective authors. They expand much more on the Russian side of the cultural equation they propose; I do believe, however, that the French (or rather ‘West European’) side is more complex than it seems, and that digging deeper into it is worthwhile. In this (...)
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  48. On Compassion and the Sublime Black Body: Octavia E. Butler's Parable of the Sower.Ikea M. Johnson - 2020 - Journal of Comparative Literature and Aesthetics 43 (2):92-101.
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  49. 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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  50. On Sublime.Victor Mota - manuscript
    From aesthetics to social anthropology and art, this essay is pretending to be an approach to some relevant works on the vision to a better man.
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