329:. His comments on the experience also reflected pleasure and repulsion, citing a "wasted mountain" that showed itself to the world as a "noble ruin" (Part III, Sec. 1, 390–91), but his concept of the sublime in relation to beauty was one of degree rather than the sharp contradistinction that Dennis developed into a new form of literary criticism. Shaftesbury's writings reflect more of a regard for the awe of the infinity of space ("Space astonishes" referring to the Alps), where the sublime was not an aesthetic quality in opposition to beauty, but a quality of a grander and higher importance than beauty. In referring to the Earth as a "Mansion-Globe" and "Man-Container" Shaftsbury writes "How narrow then must it appear compar'd with the capacious System of its own Sun...tho animated with a sublime Celestial Spirit...." (Part III, sec. 1, 373).
80:
400:. The dichotomy that Burke articulated is not as simple as Dennis' opposition, and is antithetical in the same degree as light and darkness. Light may accentuate beauty, but either great light or darkness, i. e., the absence of light, is sublime to the extent that it can annihilate vision of the object in question. What is "dark, uncertain, and confused" moves the imagination to awe and a degree of horror. While the relationship of sublimity and beauty is one of mutual exclusivity, either can provide pleasure. Sublimity may evoke horror, but knowledge that the perception is a fiction is pleasureful.
511:(1790), Kant says that there are two forms of the sublime, the mathematical and the dynamical, although some commentators hold that there is a third form, the moral sublime, a hold-over from the earlier "noble" sublime. Kant claims, "We call that sublime which is absolutely great"(§ 25). He distinguishes between the "remarkable differences" of the Beautiful and the Sublime, noting that beauty "is connected with the form of the object", having "boundaries", while the sublime "is to be found in a formless object", represented by a "boundlessness" (§ 23).
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to sublimity and the subsequent feelings of admiration and/or responsibility, allowing for the intertwining of aesthetics and ethics... The roles of aesthetics and ethicsâthat is, the roles of artistic and moral judgments, are very relevant to contemporary society and business practices, especially in light of the technological advances that have resulted in the explosion of visual culture and in the mixture of awe and apprehension as we consider the future of humanity."
995:, Volume 1, p. 27 (Macmillan, 1973). But Edmund Burke disagreed: "Nor is it, either in real or fictitious distresses, our immunity from them which produces our delight ... it is absolutely necessary that my life should be out of any imminent hazard, before I can take a delight in the sufferings of others, real or imaginary ... it is a sophism to argue from thence, that this immunity is the cause of my delight". (
756:, networking, telecommunication art. For him, the new technologies are creating conditions for a new kind of sublime: the "technological sublime". The traditional categories of aesthetics (beauty, meaning, expression, feeling) are being replaced by the notion of the sublime, which after being "natural" in the 18th century, and "metropolitan-industrial" in the modern era, has now become technological.
435:, the function of artistic forms was to instill pleasure, and he first pondered the problem that an object of art representing ugliness produces "pain." Aristotle's detailed analysis of this problem involved his study of tragic literature and its paradoxical nature as both shocking and having poetic value. The classical notion of ugliness prior to Edmund Burke, most notably described in the works of
450:, which he denominated "delight" and which is distinct from positive pleasure. "Delight" is thought to result from the removal of pain, caused by confronting a sublime object, and supposedly is more intense than positive pleasure. Though Burke's explanations for the physiological effects of sublimity, e. g. tension resulting from eye strain, were not seriously considered by later authors, his
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sublime event (such as an earthquake) demonstrates the inadequacy of one's sensibility and imagination. Simultaneously, one's ability subsequently to identify such an event as singular and whole indicates the superiority of one's cognitive, supersensible powers. Ultimately, it is this "supersensible substrate," underlying both nature and thought, on which true sublimity is located.
771:, as well as monographs by writers such as Malcolm Budd, James Kirwan and Kirk Pillow. As in the postmodern or critical theory tradition, analytic philosophical studies often begin with accounts of Kant or other philosophers of the 18th or early 19th centuries. Noteworthy is a general theory of the sublime, in the tradition of Longinus, Burke and Kant, in which
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439:, denoted it as the absence of form and therefore as a degree of non-existence. For St. Augustine, beauty is the result of the benevolence and goodness of God in His creation, and as a category it had no opposite. Because ugliness lacks any attributive value, it is formless due to the absence of beauty.
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argues for sublimity as the common root to aesthetics and ethics, "The origin of surprise is the break (the pause, the rupture) between one's sensibility and one's powers of representation... The recuperation that follows the break between one's sensibility and one's representational capability leads
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Kant divides the sublime into the mathematical and the dynamical, where in the mathematical "aesthetical comprehension" is not a consciousness of a merely greater unit, but the notion of absolute greatness not constrained by any idea of limitation (§ 27). The dynamically sublime is "nature considered
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that "The Alps fill the mind with an agreeable kind of horror". The significance of
Addison's concept of the sublime is that the three pleasures of the imagination that he identifiedâgreatness, uncommonness, and beautyâ"arise from visible objects"; that is, from sight rather than from rhetoric. It is
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in 1693, giving an account of crossing the Alps where, contrary to his prior feelings for the beauty of nature as a "delight that is consistent with reason", the experience of the journey was at once a pleasure to the eye as music is to the ear, but "mingled with
Horrours, and sometimes almost with
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The experience of the sublime involves a self-forgetfulness where personal fear is replaced by a sense of well-being and security when confronted with an object exhibiting superior might, and is similar to the experience of the tragic. The "tragic consciousness" is the capacity to gain an exalted
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He considers both the beautiful and the sublime as "indefinite" concepts, but where beauty relates to the "Understanding", sublime is a concept belonging to "Reason", and "shows a faculty of the mind surpassing every standard of Sense" (§ 25). For Kant, one's inability to grasp the magnitude of a
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For him, the feeling of the beautiful is in seeing an object that invites the observer to transcend individuality, and simply observe the idea underlying the object. The feeling of the sublime, however, is when the object does not invite such contemplation but instead is an overpowering or vast
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The
British description of the sublime has been described as distinct from the Kantian conceptualization, which emphasized a detachment of aesthetic judgment. The British tradition is noted for its rejection of the idea that aesthetic judgment and ethical conduct are not connected. One of its
978:, Part 1, Section 7: "Whatever is fitted in any sort to excite the ideas of pain, and danger, that is to say, whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror, is a source of the
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state of consciousness from the realization of the unavoidable suffering destined for all men and that there are oppositions in life that can never be resolved, most notably that of the "forgiving generosity of deity" subsumed to "inexorable fate".
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191:. This is thought to have been written in the 1st century AD though its origin and authorship are uncertain. For Longinus, the sublime is an adjective that describes great, elevated, or lofty thought or language, particularly in the context of
982:; that is, it is productive of the strongest emotion which the mind is capable of feeling...." In Part 2, Section 2, Burke wrote that "terror is in all cases whatsoever, either more openly or latently, the ruling principle of the sublime."
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also notable that in writing on the "Sublime in external Nature", he does not use the term "sublime" but uses semi-synonymous terms such as "unbounded", "unlimited", "spacious", "greatness", and on occasion terms denoting excess.
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period. Lyotard argued that the modernists attempted to replace the beautiful with the release of the perceiver from the constraints of the human condition. For him, the sublime's significance is in the way it points to an
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458:. Burke is also distinguished from Kant in his emphasis on the subject's realization of his physical limitations rather than any supposed sense of moral or spiritual transcendence.
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In
Britain, the development of the concept of the sublime as an aesthetic quality in nature distinct from beauty was brought into prominence in the 18th century in the writings of
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618:, were typical examples of the sublime and argued that the disembodiment and formlessness of these art forms inspired the viewer with an overwhelming aesthetic sense of awe.
1183:, or the "science of art"âa movement to discern laws of aesthetic appreciation and arrive at a scientific approach to aesthetic experience: Stolnitz, Jerome. "Beauty". In
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effects of sublimity, in particular the dual emotional quality of fear and attraction that other authors noted. Burke described the sensation attributed to sublimity as a
707:, a monotonous infinity threatens to dissolve all oppositions and distinctions. The "dynamic sublime", on the other hand, was an excess of signifieds: meaning was always
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positions holds that the affective register of the sublime is not divorced from the standards that govern human conduct and that it does not transcend ethical conduct.
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745:, the concept of the sublime should be examined first of all in relation to the epochal novelty of digital technologies, and technological artistic production:
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Burke's concept of sublimity was an antithetical contrast to the classical conception of the aesthetic quality of beauty being the pleasurable experience that
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This treatise was rediscovered in the 16th century, and its subsequent impact on aesthetics is usually attributed to its translation into French by linguist
606:. According to his reasoning, this meant that oriental artists were more inclined towards the aesthetic and the sublime: they could engage God only through
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488:, Rome, dated 1630. Kant referred to St. Peter's as "splendid", a term he used for objects producing feeling for both the beautiful and the sublime.
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Addison's notion of greatness was integral to the concept of sublimity. An object of art could be beautiful yet it could not possess greatness. His
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665:), 2000â2006, an interactive installation that aims to involve the audience in the experience of the manipulation and consumption of the
729:(impassable doubt) in human reason; it expresses the edge of our conceptual powers and reveals the multiplicity and instability of the
431:, and suggested that ugliness is an aesthetic quality in its capacity to instill intense emotions, ultimately providing pleasure. For
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and veneration, with greater persuasive powers. Longinus' treatise is also notable for referring not only to Greek authors such as
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1239:. Trans. Elizabeth Rottenberg. Stanford University Press, 1994. Lyotard expresses his own elements of the sublime but recommends
582:– Immensity of Universe's extent or duration. (Pleasure from knowledge of observer's nothingness and oneness with Nature).
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in an aesthetic judgment as might that has no dominion over us", and an object can create a fearfulness "without being afraid
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and commented in their writings of the horrors and harmony of the experience, expressing a contrast of aesthetic qualities.
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2011:
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564:– Endless desert with no movement. (Pleasure from seeing objects that could not sustain the life of the observer).
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despair". Shaftesbury had made the journey two years prior to Dennis but did not publish his comments until 1709 in the
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935:. 1773 edition, printed for T. Walker. Chapter on âGeneva and the Lakeâ: 261 Located on Google books, accessed 11.12.07
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listed examples of its transition from the beautiful to the most sublime. This can be found in the first volume of his
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in which he formulated five primary aesthetic forms: the beautiful, the sublime, the tragic, the ugly, and the comic.
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method of reporting his own psychological experience was more influential, especially in contrast to the analysis of
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2066:
20:
558:– Light reflected off stones. (Pleasure from beholding objects that pose no threat, objects devoid of life).
552:– Light is reflected off a flower. (Pleasure from a mere perception of an object that cannot hurt observer).
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1943:
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1502:. Translated by Stephen A. Emery. With a foreword by Thomas Munro. Detroit, Wayne State University Press, 1970.
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703:. He argued that Kant's "mathematical sublime" could be seen in semiotic terms as the presence of an excess of
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150:. The term especially refers to a greatness beyond all possibility of calculation, measurement, or imitation.
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Thomas
Weiskel re-examined Kant's aesthetics and the Romantic conception of the sublime through the prism of
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considered the sublime a marker of cultural difference and a characteristic feature of oriental art. His
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1976:
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570:– Turbulent Nature. (Pleasure from perceiving objects that threaten to hurt or destroy observer).
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299:. These authors expressed an appreciation of the fearful and irregular forms of external nature, and
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576:– Overpowering turbulent Nature. (Pleasure from beholding very violent, destructive objects).
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243:
97:. Romantic artists during the 19th century used the epic of nature as an expression of the sublime.
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The
Beautiful, the Sublime, and the Picturesque in Eighteenth-Century British Aesthetic Theory
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Maurizio
Bolognini, "De l'interaction à la démocratie. Vers un art génératif post-digital" /
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2006:
1938:
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Fudge, R. S. "Imagination and the
Science-Based Aesthetic Appreciation of Unscenic Nature".
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502:. He held that the sublime was of three kinds: the noble, the splendid, and the terrifying.
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presents the notion of limit-situations in life as being central to the human experience.
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313:. All three Englishmen had, within the span of several years, made the journey across the
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1128:(April 2004). "The SMSMS Project: Collective Intelligence Machines in the Digital City".
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Stolnitz, Jerome. "On the
Significance of Lord Shaftesbury in Modern Aesthetic Theory".
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The
Intertwining of Aesthetics and Ethics: Exceeding of Expectations, Ecstasy, Sublimity
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The Intertwining of Aesthetics and Ethics: Exceeding of Expectations, Ecstasy, Sublimity
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in the 17th and 18th centuries, first used the sublime to describe objects of nature.
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Beidler. P. G. "The Postmodern Sublime: Kant and Tony Smith's Anecdote of the Cube".
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view of history meant that he considered "oriental" cultures as less developed, more
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Gilbert-Rolfe, Jeremy. "Beauty and the Contemporary Sublime," Allworth Press, 1999.
1243:, §23–§29 as a preliminary reading requirement to understanding his analysis.
1099:. Trans. J.H. Bernard. Macmillan, 1951. Translator's introduction and notes to the
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383:
377:
367:
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John Dennis was the first to publish his comments in a journal letter published as
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made an attempt to record his thoughts on the observing subject's mental state in
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A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
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A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
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A Philosophical Inquiry into the Origin of Our Ideas of the Sublime and Beautiful
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A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
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means. He believed that the excess of intricate detail that is characteristic of
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A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful
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in the late 17th century. It was associated with the works of the French writers
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in 1674. Later the treatise was translated into English by John Pultney in 1680,
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1933:
1474:, Vol. II. Ed. Edward Niles Hooker. Baltimore, 1939–1943. ASIN: B0007E9YR4
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it became an important concept not just in philosophical aesthetics but also in
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1760:, BBC Radio 4 discussion with Janet Todd, Annie Janowitz & Peter de Bolla (
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Doran, Robert. "Literary History and the Sublime in Erich Auerbach's Mimesis".
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1567:. Translated by John T. Goldthwaite. University of California Press, 2003.
37:
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Ryan, V. (2001). "The physiological sublime: Burke's critique of reason".
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malignant object of great magnitude, one that could destroy the observer.
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119:
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1164:"From interactivity to democracy. Towards a post-digital generative art"
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Aesthetics and theory of art. Ăsthetik und allgemeine Kunstwissenschaft
1040:(McMillan, 1973). Also, Monroe C. Beardsley, "History of Aesthetics",
718:, the sublime, as a theme in aesthetics, was the founding move of the
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2376:
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725:
275:
127:
947:
The Sublime: A Reader in British Eighteenth-Century Aesthetic Theory
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Remarks on Several Parts of Italy etc. in the years 1701, 1702, 1703
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How Pictures Complete Us; The Beautiful, the Sublime and the Divine
2171:
1600:
The Sublime: A Study of Critical Theories in XVIII-Century England
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Brady, E. "Imagination and the Aesthetic Appreciation of Nature".
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There has also been some resurgence of interest in the sublime in
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404:
200:
110:
78:
865:
The British Aesthetic Tradition: From Shaftesbury to Wittgenstein
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654:
314:
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1595:. Trans. Elizabeth Rottenberg. Stanford University Press, 1994.
230:
The concept of the sublime emerged in Europe with the birth of
2361:
1737:
Zuckert, R. "Awe or Envy? Herder contra Kant on the Sublime".
603:
196:
147:
31:
1767:
1644:
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The Sense of Beauty. Being the Outlines of Aesthetic Theory
1635:
Noel, J. "Space, Time and the Sublime in Hume's Treatise".
602:
in terms of their political structures and more fearful of
1532:
Wonder, the rainbow and the aesthetics of rare experiences
629:
compared the sublime with his newly coined concept of the
684:, which he edited for many years, and published the work
682:
Zeitschrift fĂŒr Ăsthetik und allgemeine Kunstwissenschaft
376:
of 1745 are generally considered the starting points for
222:
in 1739 whose translation had its fifth edition in 1800.
1564:
Observations on the Feeling of the Beautiful and Sublime
839:. Cambridge, UK: Cambridge University Press. p. 1.
499:
Observations on the Feeling of the Beautiful and Sublime
1628:
Nicolson, Marjorie Hope. "Sublime in External Nature".
905:
Nicolson, Marjorie Hope. "Sublime in External Nature".
614:, or the dazzling metrical patterns characteristic of
531:
To clarify the concept of the feeling of the sublime,
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The Work of Art in the Age of Mechanical Reproduction
1602:. Ann Arbor: University of Michigan Press, 1935/1960.
1179:
The last decades of the 19th century saw the rise of
442:
Burke's treatise is also notable for focusing on the
1680:
Shusterman, R. "Somaesthetics and Burke's Sublime".
2630:
2479:
2252:
1959:
1871:
1805:
1663:. New York, Modern Library, 1955. Pp. 230â240.
1432:Cooper, Anthony Ashley, Third Earl of Shaftesbury.
949:. New York: Cambridge University Press. p. 3.
918:Cooper, Anthony Ashley, Third Earl of Shaftesbury.
867:. New York: Cambridge University Press. p. 4.
763:since the early 1990s, with occasional articles in
1413:The Kantian Sublime and the Revelation of Freedom
1226:(Baltimore: Johns Hopkins University Press, 1976)
1115:Translated by T.M. Know. Oxford: Clarendon, 1975.
1081:The Kantian Sublime and the Revelation of Freedom
19:"Sublimity" redirects here. For other uses, see
1666:Saville, A. "Imagination and Aesthetic Value".
1488:. Cambridge: Cambridge University Press, 2015.
1486:The Theory of the Sublime from Longinus to Kant
1442:, Vol. II. Ed. John M. Robertson. London, 1900.
837:The Theory of the Sublime from Longinus to Kant
303:'s synthesis of concepts of the sublime in his
1741:, Vol. 61, No. 3 (Summer 2003): 217–232.
1732:The Sublime : Groundwork towards a Theory
1694:, Vol. 51, No. 4 (Autumn 1993): 541–550.
1684:, Vol. 45, No. 4, October 2005: 323–341.
1581:. Lanham: UPA, Rowman & Littlefield, 2014.
1541:, Vol. 59, No. 3 (Summer 2001): 275–285.
1415:. Cambridge: Cambridge University Press, 2009.
1366:, Vol. 56, No. 2 (Spring 1998): 139–147.
1359:, Vol. 53, No. 2 (Spring 1995): 177–186.
1023:Monroe C. Beardsley, "History of Aesthetics",
991:Monroe C. Beardsley, "History of Aesthetics",
901:
899:
897:
676:German philosopher and theorist of aesthetics
293:Anthony Ashley-Cooper, 3rd Earl of Shaftesbury
1783:
1690:, "How is a Theory of the Sublime Possible?"
407:described in several of his dialogues, e. g.
8:
2508:The Literary Mind and the Carving of Dragons
153:Since its first application in the field of
1739:The Journal of Aesthetics and Art Criticism
1692:The Journal of Aesthetics and Art Criticism
1670:, Vol. 46, No. 3, July 2006: 248–258.
1639:, Vol. 34, No. 3, July 1994: 218–225.
1539:The Journal of Aesthetics and Art Criticism
1364:The Journal of Aesthetics and Art Criticism
1357:The Journal of Aesthetics and Art Criticism
765:The Journal of Aesthetics and Art Criticism
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1776:
1768:
945:Ashfield, Andrew; de Bolla, Peter (1998).
1083:. Cambridge: Cambridge University Press.
686:Ăsthetik und allgemeine Kunstwissenschaft
473:Immanuel Kant § Aesthetic philosophy
386:developed his conception of sublimity in
1380:. Oxford, Oxford University Press, 2003.
1304:The Sublime: Groundwork towards a Theory
62:of all important aspects of the article.
1653:, vol. 62, no. 2 (2001): 265–279.
1558:. Trans. J.H. Bernard. Macmillan, 1951.
1434:The Moralists: A Philosophical Rhapsody
1070:. Trans. J.H. Bernard. Macmillan, 1951.
920:The Moralists: A Philosophical Rhapsody
827:
396:to argue that sublimity and beauty are
203:, but also to biblical sources such as
1734:. University of Rochester Press, 1998.
1593:Lessons on the Analytic of the Sublime
1306:. University of Rochester Press, 1998.
1237:Lessons on the Analytic of the Sublime
1209:Emery, Stephen A.. "Dessoir, Max". In
1196:Emery, Stephen A.. "Dessoir, Max". In
338:Remarks on Several Parts of Italy etc.
58:Please consider expanding the lead to
1514:Shelley and the revolutionary sublime
672:At the beginning of the 20th century
7:
1703:The World as Will and Representation
1405:. London: Bloomsbury Academic, 2019.
1378:The Aesthetic Appreciation of Nature
1282:(in Italian), Milan: Franco Angeli,
1044:, Volume 1, p. 22 (Macmillan, 1973).
1027:, Volume 1, p. 20 (Macmillan, 1973).
858:
856:
538:The World as Will and Representation
1706:. Volume I. New York: Dover Press.
1449:. Stanford University Press, 2016.
1352:. Ed. Donald E. Bond. Oxford, 1965.
1213:. Vol. 2, p. 356. Macmillan (1973).
1200:. Vol. 2, p. 355. Macmillan (1973).
1187:. Vol. 1, p. 266. Macmillan (1973).
1057:, Volume 62, Number 1 (April 2001).
1753:Friedrich Schiller, On the Sublime
1630:Dictionary of the History of Ideas
907:Dictionary of the History of Ideas
637:, but also a strange fascination,
14:
1622:Navon, Mois. "Sublime Tekhelet".
1610:Mountain Gloom and Mountain Glory
1534:. Harvard University Press, 1999.
1113:Aesthetics: Lectures on Fine Art.
889:Mountain Gloom and Mountain Glory
769:The British Journal of Aesthetics
633:. The numinous comprises terror,
2726:
1373:. London, 1951. ASIN: B0007IYKBU
1260:(in French), Lausanne: IDERIVE,
262:
195:. As such, the sublime inspires
36:
2764:Themes of the Romantic Movement
1651:Journal of the history of ideas
1468:Miscellanies in Verse and Prose
1320:. Lanham, MD: Lexington Books.
1316:Skorin-Kapov, Jadranka (2016).
1055:Journal of the History of Ideas
332:Joseph Addison embarked on the
50:may be too short to adequately
863:Costelloe, Timothy M. (2013).
282:. British writers, taking the
60:provide an accessible overview
1:
1682:British Journal of Aesthetics
1668:British Journal of Aesthetics
1637:British Journal of Aesthetics
1371:The Third Earl of Shaftesbury
1036:Jerome Stolnitz, "Ugliness",
1010:Jerome Stolnitz, "Ugliness",
592:Georg Wilhelm Friedrich Hegel
587:Georg Wilhelm Friedrich Hegel
392:of 1756. Burke was the first
177:The first known study of the
89:Wanderer above the Sea of Fog
2638:Aestheticization of politics
1720:. New York: Routledge, 2006.
1461:The Discourse of the Sublime
492:In an early work (of 1764),
363:Pleasures of the Imagination
355:Pleasures of the Imagination
311:Pleasures of the Imagination
1727:, 43(2):97–113, 1961.
1241:Kant's Critique of Judgment
663:SMSMS (SMS Mediated Sublime
2782:
1624:The Writings of Mois Navon
1211:Encyclopedia of Philosophy
1198:Encyclopedia of Philosophy
1185:Encyclopedia of Philosophy
1042:Encyclopedia of Philosophy
1038:Encyclopedia of Philosophy
1025:Encyclopedia of Philosophy
1012:Encyclopedia of Philosophy
993:Encyclopedia of Philosophy
580:Fullest Feeling of Sublime
556:Weakest Feeling of Sublime
470:
244:Jean-Baptiste l'Abbé Dubos
185:: Peri Hupsous/Hypsous or
25:
21:Sublimity (disambiguation)
18:
2706:
1547:Hipple, Walter John, Jr.
887:Nicolson, Marjorie Hope.
562:Weaker Feeling of Sublime
336:in 1699 and commented in
248:Nicolas Boileau-Despréaux
212:Nicolas Boileau-Despréaux
1591:Lyotard, Jean-François.
1463:. Basil Blackwell, 1989.
1258:Le sublime technologique
1235:Lyotard, Jean-François.
1142:10.1162/0024094041139247
437:Saint Augustine of Hippo
2658:Evolutionary aesthetics
2608:The Aesthetic Dimension
1725:Philosophical Quarterly
1606:Nicolson, Marjorie Hope
1551:. Carbondale, IL, 1957.
645:Contemporary philosophy
574:Full Feeling of Sublime
380:analysis of sublimity.
2759:Concepts in aesthetics
2588:Avant-Garde and Kitsch
2538:Lectures on Aesthetics
1168:Artmedia X Proceedings
1079:Clewis, Robert. 2009.
835:Doran, Robert (2017).
669:
489:
122:of greatness, whether
98:
84:Caspar David Friedrich
2733:Philosophy portal
1481:38.2 (2007): 353â369.
1224:The Romantic Sublime
1001:, Part 1, Section 15)
779:Jadranka Skorin-Kapov
716:Jean-François Lyotard
667:technological sublime
657:
480:
82:
2678:Philosophy of design
2558:In Praise of Shadows
2548:The Critic as Artist
1556:Critique of Judgment
1479:New Literary History
1399:Clewis, Robert, ed.
1101:Critique of Judgment
1097:Critique of Judgment
1068:Critique of Judgment
508:Critique of Judgment
240:Jean-Baptiste Racine
16:Quality of greatness
2688:Philosophy of music
2663:Mathematical beauty
1584:Kirwan, J. (2005).
1126:Bolognini, Maurizio
761:analytic philosophy
533:Arthur Schopenhauer
527:Arthur Schopenhauer
2683:Philosophy of film
2673:Patterns in nature
2643:Applied aesthetics
2618:Why Beauty Matters
2404:Life imitating art
2265:Art for art's sake
1730:Tsang, Lap Chuen.
1677:. Routledge, 2006.
1646:. MIT Press, 2000.
1588:. Routledge, 2005.
1516:. Cambridge, 2005.
1420:The Idea of Nature
1418:Collingwood, R.G.
1402:The Sublime Reader
1302:Tsang, Lap Chuen.
1279:Dimenticare l'arte
816:Sublime (literary)
670:
659:Maurizio Bolognini
490:
486:St. Peter's Square
398:mutually exclusive
254:British philosophy
232:literary criticism
173:Ancient philosophy
99:
95:Kunsthalle Hamburg
28:Sublime (literary)
2741:
2740:
2693:Psychology of art
2568:Art as Experience
1632:. New York, 1974.
1327:978-1-4985-2456-8
1289:978-88-464-6364-7
1222:Weiskel, Thomas.
1181:Kunstwissenschaft
1014:(McMillan, 1973).
909:. New York, 1974.
874:978-0-521-51830-7
846:978-1-107-10153-1
550:Feeling of Beauty
462:German philosophy
226:Modern philosophy
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1764:, Feb. 12, 2004)
1716:Slocombe, Will.
1657:George Santayana
1612:. Ithaca, 1959.
1598:Monk, Samuel H.
1577:Kaplama, Erman.
1561:Kant, Immanuel.
1554:Kant, Immanuel.
1455:978-0-80479846-4
1439:Characteristicks
1422:. Oxford, 1945.
1389:. London, 1958.
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848:
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831:
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789:
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780:
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766:
762:
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748:
747:new media art
744:
741:According to
736:
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728:
727:
721:
717:
714:According to
712:
710:
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526:
524:
520:
519:it" (§ 28).
518:
512:
510:
509:
505:In his later
503:
501:
500:
495:
494:Immanuel Kant
487:
483:
479:
474:
467:Immanuel Kant
466:
461:
459:
457:
456:Immanuel Kant
453:
449:
448:negative pain
445:
444:physiological
440:
438:
434:
430:
429:
424:
423:
422:Hippias Major
418:
417:
412:
411:
406:
401:
399:
395:
391:
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385:
381:
379:
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369:
365:
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357:, as well as
356:
348:
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342:
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335:
330:
328:
323:
318:
316:
312:
308:
307:
306:The Spectator
302:
298:
294:
285:
281:
277:
273:
265:
253:
251:
249:
245:
241:
237:
233:
225:
223:
221:
220:William Smith
218:in 1712, and
217:
213:
208:
206:
202:
198:
194:
190:
189:
184:
180:
172:
170:
168:
164:
160:
157:and drama in
156:
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145:
141:
137:
133:
129:
125:
121:
117:
116:
112:
108:
104:
96:
92:
90:
85:
81:
71:
68:November 2017
61:
55:
53:
48:
43:
39:
34:
33:
29:
22:
2616:
2606:
2596:
2566:
2556:
2536:
2526:
2516:
2506:
2496:
2486:
2455:
2433:
2409:Magnificence
2391:
2241:
2207:Schopenhauer
2042:Coomaraswamy
1960:Philosophers
1948:
1879:Aestheticism
1761:
1738:
1731:
1724:
1717:
1701:
1698:Schopenhauer
1691:
1681:
1674:
1667:
1660:
1650:
1643:
1636:
1629:
1609:
1599:
1592:
1585:
1578:
1562:
1548:
1538:
1531:
1520:
1513:
1499:
1485:
1478:
1471:
1467:
1460:
1446:
1437:
1433:
1419:
1412:
1400:
1384:
1377:
1370:
1369:Brett, R.L.
1363:
1356:
1349:
1317:
1311:
1303:
1298:
1278:
1257:
1248:
1240:
1236:
1231:
1223:
1218:
1210:
1205:
1197:
1192:
1184:
1180:
1175:
1167:
1158:
1133:
1129:
1120:
1112:
1107:
1100:
1096:
1091:
1080:
1075:
1067:
1062:
1054:
1049:
1041:
1037:
1032:
1024:
1019:
1011:
1006:
996:
992:
987:
979:
973:
970:Edmund Burke
965:
946:
940:
932:
927:
919:
914:
906:
888:
883:
864:
836:
830:
782:
777:
768:
764:
758:
740:
737:21st century
724:
713:
694:
690:
685:
681:
680:founded the
671:
666:
662:
650:20th century
638:
634:
625:
596:teleological
590:
579:
573:
567:
561:
555:
549:
543:
536:
530:
521:
516:
513:
506:
504:
497:
491:
447:
441:
426:
420:
414:
408:
402:
397:
387:
384:Edmund Burke
382:
371:
366:of 1744 and
361:
354:
352:
349:Edmund Burke
343:
337:
331:
326:
322:Miscellanies
321:
319:
310:
304:
290:
229:
209:
186:
178:
176:
152:
136:metaphysical
132:intellectual
113:
106:
100:
87:
65:
49:
47:lead section
2754:Abstraction
2502:(c. 335 BC)
2492:(c. 390 BC)
2471:Work of art
2424:Picturesque
2280:Avant-garde
2237:Winckelmann
2112:Kierkegaard
2037:Collingwood
2007:Baudrillard
1934:Romanticism
1904:Historicism
1838:Mathematics
1762:In Our Time
1758:The Sublime
1675:The Sublime
1642:Pillow, K.
1530:Fisher, P.
1274:Mario Costa
1254:Mario Costa
743:Mario Costa
678:Max Dessoir
674:Neo-Kantian
627:Rudolf Otto
622:Rudolf Otto
616:Islamic art
612:Chinese art
394:philosopher
297:John Dennis
167:art history
2748:Categories
2441:Recreation
2419:Perception
2312:Creativity
2012:Baumgarten
2002:Baudelaire
1884:Classicism
1799:Aesthetics
1700:, Arthur.
1512:Duffy, C.
822:References
705:signifiers
608:"sublated"
604:divine law
600:autocratic
471:See also:
334:Grand Tour
284:Grand Tour
280:Swiss Alps
109:(from the
103:aesthetics
26:See also:
2446:Reverence
2352:Eroticism
2322:Depiction
2295:Masculine
2197:Santayana
2157:Nietzsche
2102:Hutcheson
2092:Heidegger
2077:Greenberg
2032:Coleridge
1997:Balthasar
1982:Aristotle
1944:Theosophy
1939:Symbolism
1914:Modernism
1899:Formalism
1673:Shaw, P.
1525:Routledge
1494:959033482
1376:Budd, M.
1256:(1994) ,
720:Modernist
639:Fascinans
635:Tremendum
452:empirical
433:Aristotle
428:Symposium
327:Moralists
144:spiritual
140:aesthetic
118:) is the
52:summarize
2721:Category
2653:Axiology
2522:(c. 500)
2512:(c. 100)
2387:Judgment
2342:Emotions
2337:Elegance
2317:Cuteness
2290:Feminine
2253:Concepts
2222:Tanizaki
2202:Schiller
2187:Richards
2177:RanciĂšre
2147:Maritain
2082:Hanslick
2022:Benjamin
1894:Feminism
1863:Theology
1843:Medieval
1833:Japanese
1828:Internet
1276:(2006),
1150:57569240
1130:Leonardo
801:Numinous
790:See also
631:numinous
541:, § 39.
410:Philebus
193:rhetoric
183:Longinus
155:rhetoric
148:artistic
124:physical
115:sublīmis
2716:Outline
2631:Related
2498:Poetics
2466:Tragedy
2456:Sublime
2429:Quality
2414:Mimesis
2372:Harmony
2357:Fashion
2332:Ecstasy
2327:Disgust
2243:more...
2212:Scruton
2137:Lyotard
2072:Goodman
2052:Deleuze
1987:Aquinas
1977:Alberti
1950:more...
1929:Realism
1909:Marxism
1889:Fascism
1872:Schools
1858:Science
1813:Ancient
1527:, 1992.
980:sublime
922:. 1709.
568:Sublime
205:Genesis
179:sublime
120:quality
107:sublime
2622:(2009)
2612:(1977)
2602:(1946)
2592:(1939)
2582:(1935)
2572:(1934)
2562:(1933)
2552:(1891)
2542:(1835)
2532:(1757)
2399:Kitsch
2377:Humour
2307:Comedy
2285:Beauty
2227:Vasari
2217:Tagore
2192:Ruskin
2132:LukĂĄcs
2122:Langer
2067:Goethe
1992:BalĂĄzs
1972:Adorno
1853:Nature
1818:Africa
1710:
1616:
1571:
1506:
1492:
1453:
1426:
1411:, ed.
1393:
1324:
1286:
1264:
1148:
953:
871:
843:
726:aporia
425:, and
276:Hahnen
246:, and
105:, the
93:1817,
2711:Index
2480:Works
2461:Taste
2451:Style
2232:Wilde
2172:Plato
2167:Pater
2127:Lipps
2087:Hegel
2057:Dewey
2047:Danto
2027:Burke
1848:Music
1823:India
1806:Areas
1470:, in
1436:, in
1146:S2CID
405:Plato
370:poem
201:Homer
146:, or
128:moral
111:Latin
2435:Rasa
2393:Kama
2367:Gaze
2302:Camp
2182:Rand
2117:Klee
2107:Kant
2097:Hume
2017:Bell
1708:ISBN
1614:ISBN
1569:ISBN
1504:ISBN
1490:OCLC
1451:ISBN
1424:ISBN
1391:ISBN
1322:ISBN
1284:ISBN
1262:ISBN
951:ISBN
869:ISBN
841:ISBN
767:and
699:and
315:Alps
295:and
165:and
2362:Fun
2142:Man
2062:Fry
1138:doi
781:in
416:Ion
197:awe
101:In
2750::
2590:"
2580:"
2550:"
1659:.
1608:.
1523:.
1348:.
1271:.
1166:,
1144:.
1134:37
1132:.
972:,
896:^
855:^
749:,
733:.
711:.
661:,
641:.
517:of
419:,
413:,
278:,
250:.
242:,
238:,
207:.
169:.
142:,
138:,
134:,
130:,
126:,
86:,
2586:"
2576:"
2546:"
1791:e
1784:t
1777:v
1330:.
1293:.
1152:.
1140::
959:.
877:.
849:.
91:,
70:)
66:(
56:.
23:.
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