Results for 'sublime'

127 found
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  1. 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 (...)
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  2. 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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  3. Sublimity and Joy: Kant on the Aesthetic Constitution of Virtue.Melissa Merritt - 2017 - In Matthew 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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  4. 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 (...)
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  5. 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 (...)
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  6.  59
    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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  7. 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 (...)
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  8.  98
    The Sublime Clara Mather.Kenneth Walden - 2019 - In Hans Maes (ed.), Portraits and Philosophy. New York:
    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 (...)
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  9.  92
    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, (...)
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  10. 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 (...)
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  11.  96
    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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  12. 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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  13. 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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  14.  89
    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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  15.  13
    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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  16. 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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  17.  10
    On Sublime-Liminal experiences and Post-Mortem.Víctor Ausina Mota - manuscript
    On Sublime, subliminal experiences in terms of life and death realtion, in desire and social status.
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  18. El gobierno sublime y el gobierno amable. Un cruce entre la teoría estética y política en la obra de Edmund Burke.Fabricio Castro - 2018 - Revista PostData 23 (2):421-451.
    El presente artículo explora la relación entre las ideas estéticas y las ideas políticas en la obra de Edmund Burke. De dicho análisis, surge, en primer lugar, la relevancia de sus reflexiones sobre las nociones de lo bello y de lo sublime para la teoría política, usualmente desestimadas por los comentadores. En segundo lugar, la afirmación de que la idea de lo sublime es una característica imprescindible de todo gobierno político, y el trazado, en tercer lugar, de una (...)
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  19.  86
    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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  20. 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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  21. Nietzsche Contra Sublimation.Eli I. Lichtenstein - 2020 - Journal of the History of Philosophy 58 (4):755-778.
    Many commentators have claimed that Nietzsche views the “sublimation” (Sublimierung) of drives as a positive achievement. Against this tradition, I argue that, on the dominant if not universal Nietzschean use of Sublimierung and its cognates, sublimation is just a broad psychological analogue of the traditional (al)chemical process: the “vaporization” of drives into a finer or lighter state, figuratively if not literally. This can yield ennobling elevation, or purity in a positive sense—the intensified “sublimate” of an unrefined original sample. But it (...)
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  22. 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 (...)
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  23. The Moral Source of the Kantian Sublime.Melissa McBay Merritt - 2012 - In Timothy Costelloe (ed.), The Sublime: From Antiquity to the Present (pp. 37-49). 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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  24. 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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  25.  30
    A Ideia de Sublime.Victor Mota - manuscript
    A ideia de sublime é necessária à reflexão filosófica contemporânea?
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  26. 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 upon Tyne: 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 (...) tells us something about our relation to the world rather than anything about the world per se. Nonetheless there is an objective sense of the sublime in that the narratives involved are culturally endorsed rather than invented by an individual. This means that objects can be judged worthy or not of evoking experiences of the sublime. In other words, it is not an idiosyncratic matter. Immanuel Kant’s formulation of this involved explaining how such an experience is possible in terms of his system of the mind. Jane Forsey notes that Kant takes the features of the sublime as given and extrapolates from them certain features of the mind as if any concept of the sublime must implicate the mental architecture of his account (2007). Further to this she argues that in fact the concept of the sublime does implicate a particular system of the mind but neither Kant nor anyone else can successfully formulate it because the concept itself frames certain contradictions. According to Forsey, two consequences follow. First she argues that Kant’s system of the mind does not support the features of the sublime; and secondly that no system could as the very concept is incoherent. If Forsey can show that Kant was mistaken in presenting his account as coherent given his commitments, this would be of interest in its own right. However, her stronger claim is that we cannot separate any concept of the sublime out from Kant’s theoretical underpinnings. That the way the features of the mind are meant to operate in experiences of the sublime are contradictory simply points to the fatal flaws in the whole concept. Her conclusion is that there is no coherent account of the sublime available to us. I will argue that Forsey bases her reasoning on the assumption that a foundational empiricist or direct perception holds; and she interprets Kant’s notions of imagination, understanding and reason as though they are grounded in just such an account of perception. This is revealed in her interpretation of Kant’s phrase “beyond cognition”. Once this foundationalism is replaced with an account of perception more aligned with current research on perception, both philosophical and empirical, then an account of the sublime is available. Further to this however, I argue that what constitutes the narrative of the sublime is historically contingent. Before setting out my arguments, I consider Forsey’s argument in more detail. (shrink)
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  27. 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 (...)
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  28.  92
    The Possibility of the Sublime: Aesthetic Exchanges. [REVIEW]Eric MacTaggart - 2019 - American Society for Aesthetics Graduate E-Journal 11 (1).
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  29. Ambivalent Identifications: Narcissism, Melancholia, and Sublimation.Delia Popa & Iaan Reynolds - 2022 - Consecutio Rerum: Rivista Critica Della Postmodernità 11 (6):161-186.
    Beginning with Freud’s treatment of identification as an ambivalent process, we explore identification’s polarization between narcissistic idealization and melancholic division. While narcissistic identification can be seen as a strategy adopted by the ego to avoid the educational development of its drives and to maintain itself either in whole or in part in an infantile state, melancholic identification activates a tension between the ego-ideal and the real ego at the expense of the latter. After discussing the ambivalence of identification, we review (...)
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  30.  91
    Liberal Naturalism , Aesthetic Reflection, and the Sublime.Jennifer A. McMahon - 2022 - In David Macarthur & Mario De Caro (eds.), The Routledge Handbook of Liberal Naturalism. New York, NY, USA and London UK: 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 (...)
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  31. China, Nature, and the Sublime in Kant.Eric S. Nelson - 2010 - In Stephen R. Palmquist (ed.), Cultivating Personhood: Kant and Asian Philosophy. Walter de Gruyter. pp. 333--348.
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  32. 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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  33.  35
    "Where Ruin Greenly Dwells:" Sublimity and Romanticism in Kant's "Critique of Judgement".P. Winston Fettner - manuscript
    This paper examines the relationships between Romantic painting, poetry, and philosophy, historically tracing the circulation of images used to communicate sublimity (for example, images of ruins, storms, volcanoes, and so on). Kant's "Critique of Judgment" deployed the same vocabulary of images that appear in Coleridge and Shelly, in Church and in Turner. The discussion thereby places Kant's 3rd Critique within its cultural context. But it also reveals the massive shift from Enlightenment rationalism to 19th century historicism that Romanticism enacted, and (...)
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  34. 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 (...)
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  35. 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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  36. 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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  37.  80
    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 (...)
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  38.  58
    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, (...)
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  39. 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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  40. 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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  41. Cosmological Aesthetics Through the Kantian Sublime and Nietzschean Dionysian.Erman Kaplama - 2013 - 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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  42. I Luoghi Del Sublime Moderno.Piero Giordanetti (ed.) - 2005 - Led.
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  43.  19
    Turn From Sensibility to Rationality: Kant’s Concept of the Sublime.Zhengmi Zhouhuang - 2019 - In Stephen R. Palmquist (ed.), Kant on Intuition. Western and Asian Perspectives on Transcendental Idealism. 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, (...)
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  44.  32
    The Significance of Nichtigkeit in Schopenhauer’s Account of the Sublime.Patrick Hassan - forthcoming - In David Bather Woods & Timothy Stoll (eds.), The Schopenhauerian Mind.
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  45. Kant's Parasite: Sublime Biodeconstruction.Jonathan Basile - 2019 - CR: The New Centennial Review 19 (3):173-200.
    In Kant's Critique of Judgment, his exploration of how something like life (organized matter) can appear to the faculties of a finite consciousness makes life as possible as it is impossible. A passing reference Kant makes to the idea that every organ of an organism can be seen as a parasite is taken as a lever to deconstruct his notion of organized beings as forming an ultimately coherent nature (an ethicoteleological whole). This reading is placed alongside Paul de Man's deconstruction (...)
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  46.  72
    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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  47.  87
    Costelloe, Timothy M., Ed. The Sublime: From Antiquity to the Present. Cambridge University Press, 2012, Xiii + 304 Pp., 36 B&W Illus., $35.95 Paper. [REVIEW]Tom Cochrane - 2013 - Journal of Aesthetics and Art Criticism 71 (4):390-392.
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  48. Immanuel Kant - As Anotações às Observações Sobre o Sentimento do Belo e do Sublime [seleção de notas].Bruno Cunha - 2016 - Kant E-Prints 11 (2):51-79.
    A publicação do volume XX dos escritos completos de Kant publicado pela Academia de Berlin, editado por Lehmann em 1942, representou uma contribuição fundamental para a interpretação do desenvolvimento da filosofia moral de Kant, uma vez que, pela primeira vez, os intérpretes tiveram acesso ao extrato completo das decisivas Anotações (Bemerkungen) kantianas em seu exemplar particular de Observações sobre o Sentimento do Belo e do Sublime. De fato, pouca progressão havia sido observada no trabalho dos primeiros intérpretes do desenvolvimento, (...)
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  49.  46
    Review of Sophia Vasalou *Schopenhauer and the Aesthetic Standpoint: Philosophy as a Practice of the Sublime* (CUP 2013). [REVIEW]Alistair Welchman - 2015 - Classical Journal 2015:1-3.
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  50. 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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