The history of the opposition of the Dionysian and Apollonian principles is longer than is usually assumed. Similarly to the many of the other contrarian figures ascribed to Nietzsche, the Apollonian–Dionysian was not of his making; its history is much older and buried under a number of different layers of interpretation. In the following work I will discuss the formal aspects and content of their development, which took place under the direct authorial influence of Pseudo-Longinus, Jacob Bernays, Friedrich Schiller, Fr. (...) W. J. Schelling and Johan Jacob Bachofen. Still, although the discovery of a principle labelled das Dionysische doesn’t represent anything exceptional, the “Birth of Tragedy” treatise was a breakthrough: it began the development of a specific form of cultural critique, of which Nietzsche was the prime representative. (shrink)

Longinus' On the Sublime (date unknown) presents itself as a response to the work of the Augustan critic Caecilius of Caleacte. Recent attempts to reconstruct Longinus' intellectual context have largely ignored the works of Dionysius of Halicarnassus, Caecilius' contemporary colleague (active in Rome between 30 and 8 B.C.E. ). This article investigates the concept of hupsos ("the sublime") and its religious aspects in Longinus and Dionysius, and reveals a remarkable continuity between the discourse of both authors. Dionysius' (...) works inform us about an Augustan debate on Plato and the sublime, and thereby provide us with an important context for Longinus' treatise. (shrink)

It is hardly necessary to recapitulate Rhys Roberts' cumulative and convincing proof that the treatise ‘On the Sublime’ was not written by Cassius Longinus, the tutor of Zenobia, but belongs to the early days of the Empire. Not the least convincing of the arguments for this date is the fact that the treatise is suggested by and put out as a substitute for the Περ ״ϒψоνς of Caecilius of Calacte, who according to Suidas taught rhetoric in Rome in the time (...) of Augustus. Now Caecilius was an intimate friend of Dionysius of Halicarnassus : they were both Atticists and fellow-workers in leading literary Romans back to the best models of Greek prose style. But Dionysius is no candidate for the authorship of the extant treatise, which is not one that he could have written. On the other hand he gives a plain indication by which to identify its writer, which Rhys Roberts mentioned but did not adopt. It is the object of this paper to put this identification seriously forward. (shrink)

In this book, Robert Doran offers the first in-depth treatment of the major theories of the sublime, from the ancient Greek treatise On the Sublime and its reception in early modern literary theory to the philosophical accounts of Burke and Kant. Doran explains how and why the sublime became a key concept of modern thought and shows how the various theories of sublimity are united by a common structure - the paradoxical experience of being at once overwhelmed and exalted - (...) and a common concern: the preservation of a notion of transcendence in the face of the secularization of modern culture. Combining intellectual history with literary theory and philosophical analysis, his book provides a new, searching and multilayered account of a concept that continues to stimulate thought about our responses to art, nature and human events. (shrink)

Cet article confronte la réception du sublime kantien chez Schiller et chez Schelling, ainsi que leurs analyses du tragique, en particulier du héros tragique. Ce dernier incarne pour les deux auteurs la réalisation sublime de la liberté humaine. Toutefois, malgré les similitudes qu’offrent leurs pensées, des différences majeures existent. L’article vise à faire voir ces différences et à les comprendre en faisant appel aux positions philosophiques plus larges aussi bien de Schelling que de Schiller concernant la liberté humaine. Ce faisant, (...) l’article analyse également les appropriations et réinterprétations par Schelling de certaines des pensées de Schiller sur le sublime. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 124.2 (2003) 295-301 [Access article in PDF] Some Recent Controversies in the Study of Later Greek Rhetoric George A. Kennedy The Greeks of the Roman Empireproduced no equal to Cicero or Quintilian: among their extensive writings there is no profound philosophical examination of political rhetoric and no comprehensive account of rhetorical education based on a lifetime of teaching. But the numerous later Greek rhetorical treatises, (...) dry reading as they may seem, sometimes even poorly written, have considerable significance for the intellectual history of the early centuries of the Christian era. They are a major source for our understanding of education, its materials, goals, and values, as experienced by most important thinkers of the times, pagan and Christian; the training they describe directly influenced the form and style of composition of much of the writing that has survived; they are evidence for cultural change and for the perception of Greek language and literature of the classical period more than five hundred years later; and they provide linguists and philologists with useful concepts and terminology to describe the workings of texts, pagan and Christian, ancient and modern.From 1931, when Hugo Rabe published the last of his editions of later Greek rhetorical texts, to 1974, when Josef Martin published Antike Rhetorik: Technik und Methode(1974), making extensive use of later Greek rhetorical treatises, study of later Greek rhetoric was at a low point. There was of course continued interest in On the Sublime, traditionally attributed to Longinus and surely the finest Greek work on rhetoric of the imperial period. Other important exceptions include Guilelmo Ballaira's edition of Tiberius' handbook of Demosthenic figures and Dieter Hagedorn's monograph, Zur Ideenlehre des Hermogenes(1964). Since the 1970s, with the expansion of research opportunities and younger scholars' search for opportunities in original work, there has been a modest renaissance that has produced new insight and new controversy. In some ways we now know more about the authors and their works; in some ways we are now uncertain about what we thought we [End Page 295] knew. Here I shall comment on several major contributions to the field and various continuing controversies, limiting the discussion to rhetorical theory from the time of the Roman Empire (thus omitting Demetrius and Philodemus as well as the orators).First, however, readers unfamiliar with this subject may appreciate a brief historical background. The antecedents of the concept of Rhetores Graecican be found in composite manuscripts of the tenth and eleventh centuries, which collect a number of works that the teachers and scribes of the times thought basic for their studies. 1 One of these manuscripts, now known as Parisinus 1741, was the basis for the first printing of Rhetores Graeci, the Aldine edition in two volumes (Venice 1508-9). The principal texts included are, in the following order: Aphthonius' Progymnasmata, the five rhetorical treatises attributed to Hermogenes, Aristotle's Rhetorica, the pseudo-Aristotelian Rhetorica ad Alexandrum, Aristotle's Poetica, Sopatros' Quaestiones de compendis declamationibus, the Ars rhetoricathen attributed to Dionysius of Halicarnassus, Demetrius' De interpretatione, Alexander's De figuris sensus et dictionis, Menander Rhetor's works on epideictic, two treatises on style attributed to Aelius Aristeides, and Apsines' De arte rhetorica.During the next four hundred years several of these works were given better editions, and additional rhetorical treatises were discovered in other manuscripts. Thus when Christian Walz set out in 1832 to edit Rhetores Graeciin what became an authoritative nine-volume edition, he felt able to omit the three Aristotelian works and the work attributed to Dionysius and to add additional handbooks of progymnasmata (in vol. 1), a few short treatises on rhetoric there and in volumes 3 and 9, and a very large amount of Byzantine scholia and commentary on Hermogenes, constituting all of volumes 2 and 4 through 8.Although Parisinus 1741 has remained a major authority for the text of Aristotle's Rhetoric, by 1854 when Leonard Spengel began publication of his Rhetores Graeciin three volumes, several manuscripts offering better texts of other works had been... (shrink)

It has long been known that two medieval scholiasts, one of them called John of Sicily, the other anonymous, commenting on a passage of Hermogenes', ascribe what looks like a passage of the de Sublimitate to ‘Longinus’. On the assumption, however, that the ‘Longinus’ referred to must be Cassius Longinus, the third-century rhetorician, scholars have tended to minimize the vweight of the evidence and attempted to explain it away. For it is now established that the de Sublimitate must date from (...) the first century A.D. Yet, apart from the identity of ‘Longinus’, the evidence of the scholiasts looks clear and specific. (shrink)

Current understandings of the sublime are focused by a single word and by a single author. The sublime is not a word: it is a concept and an experience, or rather a whole range of ideas, meanings and experiences that are embedded in conceptual and experiential patterns. Once we train our sights on these patterns a radically different prospect on the sublime in antiquity comes to light, one that touches everything from its range of expressions to its dates of emergence, (...) evolution, role in the cultures of antiquity as a whole, and later reception. This book is the first to outline an alternative account of the sublime in Greek and Roman poetry, philosophy, and the sciences, in addition to rhetoric and literary criticism. It offers new readings of Longinus without privileging him, but instead situates him within a much larger context of reflection on the sublime in antiquity. (shrink)

Qu’est-ce qui fait qu’un discours atteint son effet? Comment évaluer celui-ci? Au premier siècle, Pseudo-Longin compose le traité Du Sublime et y étudie ce qui mène l’expression linguistique à son plus haut degré d’efficacité. Pour l’atteindre, un rôle fondamental est attribué à la phantasia, assimilée par la plupart des auteurs anciens à ce qui, dans le discours, produit des « images ». Le texte qui suit s’arrête à démontrer, d’une part, la place occupée par Pseudo-Longin dans le long débat philosophique (...) et rhétorique sur la phantasia et, d’autre part, sa contribution à la compréhension de celle-ci. Associée par métonymie à la vision, la phantasia s’adresse à l’ensemble des sensations et correspond à l’art de faire sentir le discours en chair propre. Réussie, elle permet la communication des sensations entre le discours, l’orateur et le public. (shrink)

In this chapter, I identify a distinctive use of ‘sublime’ in Adam Smith’s philosophy of science. I show that for Smith a scientific discipline and its theories can be sublime. I trace this idea back to Malebranche. I show that in Smith it is a way to convey something about the irrational nature of the natural order lurking behind’s science’s intellectual achievements. In section 1, I diagnose and distinguish three uses of ‘sublime’ in Smith. I situate two of these in (...) the early modern discussions of the sublime in the wake of Boileau's and William Smith’s translations of Longinus. 1 I argue that the third in which Smith treats intellectual disciplines as themselves sublime is relatively distinctive, although not wholly unique to Smith. In section 2, I put this notion in context and trace it, somewhat speculatively, back to the reception of Isaac Newton by Smith and Smith’s reading of Malebranche. In the third section I conclude with some reflections on the significance of this discussion for Smith’s conception of the nature of scientific rationality. (shrink)

The Sublime Today considers contemporary applications of aesthetic philosophy and earlier theories of the sublime from Longinus, Boileau, Burke, Kant, and Hegel to current literary and cultural contexts. Today, aesthetic experience itself seems to be changing, given the rise of new media and new conditions for the viewing and the reception of works of art. How might the rhetoric of the sublime be used to both describe our current situation and help formulate constructive responses to it? The Sublime Today collects (...) the work of scholars in literature, film, art, and media studies and provides a forum for investigating the contemporary relevance of the sublime, both as it has been understood historically and as it has been formulated by more recent theorists such as Jameson, Lyotard, Kristeva, and others. The volume includes essays on literary readings of the sublime in Coetze, Eggers, Lahiri, and Auster; essays on film and the visual arts in the work of François Ozon and in recent participatory art; and essays on how new technologies and media, as in media representations of 9/11, re-frame our relationship to the aesthetics of the sublime, especially as they intersect with questions of gender, the postcolonial, and the uneasy politics of terror. (shrink)

Schelling, Freud, and the Philosophical Foundations of Psychoanalysisprovides a long-overdue dialogue between two seminal thinkers, Schelling and Freud. Through a sustained reading of the sublime, mythology, the uncanny, and freedom, this book provokes the reader to retrieve and revive the shared roots of philosophy and psychoanalysis. Teresa Fenichel examines the philosophical basis for the concepts of the unconscious and for the nature of human freedom on which psychoanalysis rests. Drawing on the work of German philosopher F.W.J. Schelling, the author explores (...) how his philosophical understanding of human actions, based as it was on the ideas of drives, informed and helped shape Freud's work. Fenichel also stresses the philosophical weight of Freudian psychoanalysis, specifically in regards to the problem of freedom and argues that psychoanalysis complicates and reinforces Schelling's basic idea: to know reality we must engage with the world empathetically and intimately. This book also serves as an introduction to Schelling's thought, arguing that his metaphysics--particularly concerning the primacy of the unconscious and of fantasy--can be read as a therapeutic endeavour. Finally, the book offers a deep re-thinking of the action and nature of sublimation through both Freud's and Schelling's texts. Fenichel suggests psychoanalytic therapy is self-interpretation--a recognition of our narratives as narratives, without for that reason taking them any less seriously. Schelling, Freud, and the Philosophical Foundations of Psychoanalysis will be of great interest to psychoanalysts and psychoanalytic psychotherapists as well as scholars of philosophy. (shrink)

This volume offers readers a unique and comprehensive overview of theoretical perspectives on "the sublime," the singular aesthetic response elicited by phenomena that move viewers by transcending and overwhelming them. The book consists of an editor's introduction and fifteen chapters written from a variety of disciplinary perspectives. Part One examines philosophical approaches advanced historically to account for the phenomenon, beginning with Longinus, moving through eighteenth and nineteenth century writers in Britain, France, and Germany, and concluding with developments in contemporary continental (...) philosophy. Part Two explores the sublime with respect to particular disciplines and areas of study, including Dutch literature, early modern America, the environment, religion, British Romanticism, the fine arts, and architecture. Each chapter is both accessible for nonspecialists and offers an original contribution to its respective field of inquiry. (shrink)

The sublime has been a baffling concept since its introduction by Longinus nearly two thousand years ago. What do we mean when we say something is sublime? This paper will attempt to answer that question by proposing a radical new theory of the sublime, examining the aesthetic experience called the sublime through the lens of the Madhyamaka Buddhist philosophical view of emptiness (Skt. śūnyatā). Drawing on Guy Sircello’s work (1993), I critique traditional Western accounts of the sublime, with their explicit (...) or implicit—but always problematic—commitments to epistemological and ontological transcendence. A brief summary of the Madhyamaka Buddhist view of emptiness, as elucidated in the Prajñāpāramitā literature, Nāgārjuna’s Mūlamadhyamakakārikā, and elsewhere, provides a context for examining the dialectic of the sublime and emptiness. I make the argument that the sublime experience is, in fact, an experience of emptiness. I conclude by surveying five years of the early work of visual artist Robert Rauschenberg, which express the open, clear, vivid, and unselfconscious space of emptiness in his approach to, and process of, artistic expression. (shrink)

The sublime has long been a key concept in the study of aesthetics. However, it has failed to gain traction in empirical aesthetics. With reference to Longinus, Burke, and Kant, this cross-disciplinary article defines the sublime as a mixture of fascination, exaltation, boundlessness, and fear. These descriptors are then compared with those of peak, ecstatic, and mystical psychological experiences; it is argued that they represent different approaches to the same phenomenon. In order to render sublime aesthetic states experimentally accessible, the (...) interplay of three factors is discussed. Firstly, focused attention and absorption are highlighted as active ingredients catalysing altered states. Secondly, external-to-internal entrainment is posited as a means by which a sense of continuity is established between perceiver and percept. Thirdly, it is recognized that autobiographical context and physical empathy will determine the extent to which any stimulus is capable of eliciting sublime feelings in an individual. (shrink)

This paper investigates the implicit aesthetics of Schelling’s early Naturphilosophie. Within the framework of Naturphilosophie, Schelling naturalizes the categories of the beautiful and the sublime, making not only the purposiveness of the beautiful, but also the disorder and perturbation of the sublime into part of the internal dynamic of nature. A disequilibrium between the transcendental forces of attraction and repulsion conditions all systems of differentiation, thus giving rise to an aesthetics of production inherent within nature that moves throughout the order (...) and disorder of signs, things, and conscious states. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.2 (2001) 265-279 [Access article in PDF] The Physiological Sublime: Burke's Critique of Reason Vanessa L. Ryan The eighteenth-century discussion of the sublime is primarily concerned not with works of art but with how a particular experience of being moved impacts the self. The discussion of the sublime most fully explores the question of how we make sense of our experience: "Why and (...) how does this object move me?" Focusing on the perceiving subject, most critics cast the British discussion of the sublime as reflecting a gradual shift towards a Kantian focus not on the object judged, but on the judging mind. Certainly, eighteenth-century thinkers move away from understanding the sublime as a set of qualities that are presumed to be internal to a given object, and shift their attention to the mental effects of those objects. Yet the increasing interest in the perceiving subject in eighteenth-century British thought should not be understood as necessarily anticipating a Kantian perspective. In his classic work on the sublime Samuel H. Monk claims that this aspect of the British debate provides a preliminary discussion of the Kantian "autonomy of the subject" and that it constitutes a movement towards the "subjectivism of Kant." 1 This reading of British aesthetics exclusively in [End Page 265] terms of a preparation for the Kantian description of the subject obscures the differences between the British and the German traditions. It thereby fails to accommodate the reluctance of British thinkers to give up the social and ethical when faced with the sublime: instead of explaining the commonality of the aesthetic experience by positing a "disinterested" and "autonomous" subject, thinkers such as Adam Smith, John Dennis, and Edmund Burke subordinate the freedom of the individual subject in an attempt to reconcile the aesthetic affect with moral conduct.The teleological and Kantian understanding of British eighteenth-century aesthetic theory is largely the result of the central position that has been given to its most famous theorist, Edmund Burke. Although Burke's conception of the sublime differs in some points markedly from that of his British contemporaries, his treatment of the sublime in the Philosophical Enquiry (1757) has come to represent eighteenth-century British thought, and as such it is routinely compared to Kant's analytic of the sublime. Yet at the point where the British tradition seems to come closest to the Kantian, namely, in the writings of Burke, it also most clearly marks its distance from it. Burke is in some ways the least Kantian of eighteenth-century British thinkers. Whereas Kant holds that the sublime allows us to intuit our rational capacity, Burke's physiological version of the sublime involves a critique of reason. The sublime for Burke is a question not of the subject's increasing self-awareness but of the subject's sense of limitation and of the ultimate value of that experience within a social and ethical context.One of the most intransigent problems in distinguishing the strains of thought on the sublime is that the relationship between the object and its sublime effect--between the object taken to arouse heightened response and the affective quality of such a response--is so variously conceived. The sublime experience is seen as leading, on the one hand, to an overpowering of the self and, on the other hand, to an intense self-presence and exaltation, sometimes even to self-transcendence. The central question is thus not to what extent the sublime is located in the subject, but in what way the experience of the sublime affects the perceiving subject: Does the sublime enlarge us, or diminish us? 2 Does the sublime annihilate our sense of self, or does it affirm and heighten our sense of identity? These two opposing views of the effect of the sublime on the self can be seen in the contrast between Kant and Longinus, whose theories exerted an enormous influence in Britain, especially on Burke. Whereas Longinus emphasizes that the sublime overpowers and dominates the self, Kant holds that the feeling of... (shrink)

This paper explores Schelling's life-long fascination with Spinoza. Through moments of ambivalence and enthusiasm, one aspect of the latter's thought remains central for Schelling: the intellectual intuition of God/Nature. While he consistently emphasizes the non-objectifiable nature of the intuition (as constituting the ground of freedom), the influence of Spinoza is still apparent in what Schelling calls the Ullvordellklichkeit des Seills. Freedom is a response to an ungroundable necessity that consciousness lives out of, but behind which it can never penetrate. This (...) insight provokes a reading of Spinoza that departs from the conventional rationalist interpretation and gestures to an a-theological, yet mystical, understanding, which awakens a feeling not only for the sublime in nature, but for the sublime that lies at "the heart of what is." In the ensuing silence of the self, substance reveals itself as living spirit. Through this interpretation, the Neoplatonic truth of Spinoza becomes visible. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Notes and Fragments WEISKEL'S SUBLIME AND THE IMPASSE OF KNOWLEDGE by Laura Quinney Since the publication of Thomas Weiskel's The Romantic Sublime in 1976, scholars of the sublime, in America at any rate, have taken their cue from the demystifying character ofWeiskel's analysis.1 Before Weiskel the most ambitious twentieth-century account of the sublime was Samuel Monk's largely descriptive work The Sublime: A Study of Critical Theories inEighteenth-CenturyEngland.2 With the (...) advent ofsemiotic and psychoanalytic approaches in the late sixties and early seventies, studies of the sublime shifted into a more critical mode. Neil Hertz had taken a skeptical tack in his early essay "A Reading of Longinus," but it was with Weiskel's book that the possibilities of demystifying die sublime were first explored fully.3 Weiskel's treatment is comprehensive, covering all the English Romantic poets as well as Burke and Kant. His thinking is sophisticated, incisive, and often inspired; though The Romantic Sublime was published nearly twenty years ago, it remains an admirable and influential work. In some respects it has never been superseded. Most major American scholars of the sublime—de Man, Knapp, and de Bolla, among others—have adopted the skeptical mode of Weiskel and Hertz.4 But die demystifying approach Weiskel's book helped to pioneer, while it has led to powerful argument, has certain limitations. Weiskel's precocious effort to "desublimate" the sublime shows diese limitations clearly, and it is die purpose of this essay to explore them. In die course of exposing the sublime as a mystified notion, and separating the naive believers from the canny skeptics, Weiskel also Philosophy and Literature, © 1994, 18: 309-319 310Philosophy and Literature separates intellectual insight from aesthetic capacity, and thus he uncritically reiterates die old Romantic dialectic of knowledge and power. The figure of Wordsworth plays a central role in establishing these oppositions. Weiskel portrays Wordsworth as the most successful poet of the sublime—the most successful, and tiierefore the most beguiled. In his remarkable concluding chapter, Weiskel locates the source of Wordsworth's powerful "liminal sublime" in a kind of intellectual regression. Wordswortii refuses the whole Symbolic order, the ghastly product of the Oedipus complex, for that order spells die deatii or disappearance of the signified, and die end of an imaginatively fruitful narcissism. Wordswortii retreats from the Symbolic to the Imaginary radier than endure tiiis threat to poetic life. And he is well rewarded for his dodge, since as a consequence the images of his memory thrill with the fascination of the ineffable. The Prelude gains its momentum from the project of memory; but the rich opacity and mysterious beckoning of memory's images are in a sense contrived. They spring out of a sublimation, the images colored widi the intensity of the signification Wordswortii has repudiated. Wordswortii sacrifices insight and intellectual progress for imaginative power. This is a strictly ambivalent exchange, as Weiskel makes clear in his conclusion; Wordsworth's rejection of the Oedipus complex and of the descent into the Symbolic Order, is "purely illusory, a fiction," but "the fiction is a necessary and saving one; it founds die self and secures the possibility—the chance for a self-conviction—of originality" (p. 203). Wordswortii's poetic success arises from his acceptance of an illusion, a "saving fiction" both enviable and degraded. This selfdelusion is essential to the poetic flourishing of the sublime, and only Wordsworth had the odd insensitivity to maintain it. Weiskel contrasts faith in the efficacy and excellence of sublimation with skeptical insight into its origin and end—its origin in mystification, and its end in alienation from the phenomenal world. The faith of Wordswortii's egotistical sublime is that imaginative perception provides die highest and paradoxically truest form of perception. It is easy enough to see how such a faith could provide hope and energy, and tiius could be compromised by wish-fulfillment in its generation, and direatened by extinction in its analysis. But what lies behind Weiskel's opposition of faith and insight is the old dichotomy—or series of interrelated dichotomies—that date back at least to Romanticism. Weiskel admits that his opposition of fruitful illusion and dessicating realism... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 34.1 (2001) 1-20 [Access article in PDF] On the Hegelian Sublime: Paul de Man's Judgment Call Martin Donougho In recent years, the sublime has become a focus of renewed interest in philosophy and literary theory, despite being (perhaps in part because it is) "the most confused and confusing notion of the time" (Honour 1977, 145). 1 Much of the interest has been directed at the Kantian (...) account and the long tradition stemming from it. By contrast, little attention has been paid to G. W. F. Hegel's version of the sublime, whether of the phenomenon itself or of its conceptualization. That is natural enough, it might be thought, given the marginal place accorded the sublime in Hegel's scheme of things--he simply was not interested. Yet, that very marginality is of interest, if we follow the lead of the subtlest of commentators, Paul de Man, in his essay "Hegel on the Sublime" (1983). As de Man reads and diagnoses it, Hegel's marginalizing of the sublime (much as with the section on symbolics or, indeed, aesthetics tout court) serves the interests of an aesthetic ideology. The gesture of putting the sublime aside in fact reveals more about the philosopher's system than is found in his express doctrine, de Man insists. The sublime, like Hegel's allegory, should then be read symptomatically, as the "defective cornerstone" of the entire system. 2 In this essay, I have two aims: besides explicating Hegel's theory of the sublime on its own terms, I try to assess de Man's reading of Hegel's rhetorical strategies.Even if de Man's charges fail--as I argue they do--his approach to Hegel remains, I think, full of insights. The sublime, it might well be thought, betokens the same penetration of an objective field by subjective theory that (for Heidegger and others) is at issue with Western metaphysics as a whole; a prime instance of this would be Hegel's own allegedly masterful project, including his attempt at an aesthetic system. So understood, "on the sublime" would translate as over the sublime, that is, in a bid to enframe and control discourse about "the most high" or "great writing" (see Longinus). 3 And then we might ask, for example, what Hegel is doing [End Page 1] when he consigns the sublime to a minor role, or when he instead gives the classical Ideal star billing. How exactly does he stage his discourse about art?Oddly enough, Hegel's sublime is not at all part of the main theoretical line stemming (if only in retrospect) from Immanuel Kant. That line might be dubbed "the Romantic sublime"--the title of an influential book by Thomas Weiskel, which appeared posthumously in 1976--or, alternatively, "the Yale sublime," in honor of an entire group (which includes Geoffrey Hartman and Harold Bloom) who wrote about the tendency of Romantics such as William Wordsworth and Ralph Waldo Emerson to invest themselves in their topic. 4 Kant himself points to a possible illusory move he labels subreption. Here--to apply a useful distinction Peter de Bolla (1989) draws--we have not just a discourse on, but also a discourse of the sublime. 5 The discourse of the sublime produces the very category it is meant to analyze, hence providing a space for "experience" of the sublime. A boot-strapping process induces a "subject-effect," calls forth a subject position. The remarkable thing is that--although he is said at sixteen to have made a translation of Longinus 6 and although he was, of course, familiar with the whole Kantian approach, which in many respects should have been congenial to him--Hegel stands apart from this "Romantic," or "hermeneutic," sublime. He does not at all give the appearance of staging readings in the manner sketched above, but instead adopts a distanced, disinterested perspective on the phenomenon.Even so, his aesthetic system might be accused of framing a discourse on the sublime, which, through seeking dialectical profit on its investment, shades into a discourse of the sublime. Thus, de... (shrink)

_ Source: _Page Count 9 Robert Doran claims that the sublime is all about transcendence transferred from the religious to the aesthetic domain of experience. Taken in this philosophical rather than stylistic sense, it proved crucial for the development of modern subjectivity. Doran traces the issue from Longinus through the decisive reception of Nicolas Boileau, who first distinguished le sublime from le style sublime, on to an extended engagement with Immanuel Kant. In all this he seeks its place in the (...) rise of the modern bourgeois subject. The social-historical connections tend to be a bit overstated, first, with regard to Boileau and the idea of the honnête homme, and especially with the claim that “Burke treats aesthetic concepts as proxies for sociopolitical categories.” It is not fruitful for an understanding of Kant, either. This weakens his powerful argument for the philosophical significance of the sublime in modern thought. (shrink)

This is the first comprehensive study of the sublime in Lucan. Drawing upon renewed literary-critical interest in the tradition of philosophical aesthetics, Henry Day argues that the category of the sublime offers a means of moving beyond readings of Lucan's Bellum Civile in terms of the poem's political commitment or, alternatively, nihilism. Demonstrating in dialogue with theorists from Burke and Kant to Freud, Lyotard and Ankersmit the continuing vitality of Longinus' foundational treatise On the Sublime, Day charts Lucan's complex and (...) instructive exploration of the relationship between sublimity and ethical discourses of freedom and oppression. Through the Bellum Civile's cataclysmic vision of civil war and metapoetic accounts of its own genesis, through its heated linguistic texture and proclaimed effects upon future readers and, most powerfully of all, through its representation of its twin protagonists Caesar and Pompey, Lucan's great epic emerges as a central text in the history of the sublime. (shrink)

RESUMEN Largamente desatendida o malinterpretada, la noción de caos en la filosofía de Nietzsche es una pieza constitutiva de la particular concepción del ser que este autor habría dejado apenas esbozada. El artículo se propone elaborar este concepto en la obra nietzscheana, siguiendo algunas de las metáforas que lo iluminan. Desde allí se busca plantear los rasgos centrales de una ontologia del caos, de sesgo no metafísico, que, al afirmar el carácter acontecimental de la realidad, puede verse como precursora de (...) la ontología hermenéutica contemporánea. ABSTRACT The notion of chaos, which has long been neglected or misinterpreted, is a constitutive element of a peculiar conception of being that the philosopher only had time to outline. The objective of this article is to elaborate on this concept in Nietzschean philosophy, guided by some of the metaphors that shed light on it. This serves as the basis to set forth the main characteristics of a non-metaphysical ontology of chaos that asserts the eventful nature of reality and can thus be seen as a precursor of contemporary hermeneutic ontology. (shrink)

SUMMARYThis article explores how writers from the Dutch Golden Age thought about human contact with that which is elevated far above everyday life. The Dutch Republic offers an interesting context because of the strikingly early use there by seventeenth-century humanists of the Greek concept ὕψος, from Longinus, to discuss how writers, artists and their audiences were able to surpass human limitations thanks to an intense imagination which transported them to supreme heights. Dutch poets also used the Latin sublimis to discuss (...) how mankind constantly aims at that which is far above it, but, despite this, can never entirely be a part of it. Thirdly, protestant writers discuss the concept of the Fear of God by explaining that elevated contact with God should be accompanied by the contrasting emotions of attraction and fear. With reference to the humanist Franciscus Junius, poet Joost van den Vondel and preacher Petrus Wittewrongel, I will discuss how these artistic, literary and religious discourses concerning contact with the sublime are related to one another. (shrink)

The book covers all of the major discussions of the concept, from Longinus, Johnson, Dennis, Burke, and Kant, up to Mallarme. Kant's structural model of the sublime moment is translated into terms suitable for literary analysis.

In lieu of an abstract, here is a brief excerpt of the content:Surfing the Sublime:Tim Winton's Breath and Eco-HeroismSteve Mentz (bio)The sublime represents an ecological problem. Breathing poses an entangled solution. Surfing, in which a human body stands upright inside a rotating barrel of unbreathable whitewater, provides a way to imagine the connection between these two things.The sublime has represented an elevated category of literary language since the classical writer Longinus's On the Sublime (~1st century CE). From the start, the (...) sublime captures grandeur and also an excess that challenges human thinking. Many of the essential Romantic and Post-Romantic tropes of the sublime that would later appear in dense philosophical accounts, from Edmund Burke and Immanuel Kant to Jean-Francois Lyotard and Jacques Derrida, show themselves embryonically in Longinus's brief classical description.1 The key force of sublime style, Longinus emphasizes, is irrationality: "A lofty passage does not convince the reason of the reader, but takes him out of himself. That which is admirable ever confounds our judgment" (1.4). The conceptual violence of the sublime strains our imaginations almost to breaking, and Longinus's intuition that sublimity always sits on the far side of human comprehension becomes a central feature of this idea in literary history. Although we know very little about Longinus the author–neither his name nor the century in which he lived are certain–he fingers the particular pleasurable pain and rupture of coherence that would become the signature of the sublime in modern poetics. The problem with the sublime perspective is that it craves rupture, centers the human imagination, and refuses to make space for nonhuman collaborators. The opposite of the sublime's imaginative conquest of the world may be simple breathing, the taking of alien air into one's lungs and body, and the environmental dependence each breath marks.The philosopher Graham Harman has recently traced the sublime lineage of Burke and Kant to Lyotard, Levinas, Derrida, and other twentieth-century thinkers, in order to reject the concept as fundamentally [End Page 79] anthropocentric. Harman instead advocates for a philosophy that does not require the shaping structures of human perspective. He argues for an ecological art that engages with the world beyond the merely human perspective, "art that explores unforeseen interactions between the different parts of the external world." What Harman terms "unsublime ecology" might reasonably be described as an inhuman ecological perspective. The philosopher reminds us that the sublime has always been, both from Longinus and in Harman's reading explicitly from Kant and Burke to Lyotard and Derrida, a ju-jitsu trick in which the imagination of a (white male) subject reintegrates what it cannot fully comprehend. The list of poetic works whose language most commonly appears as exemplary of the sublime–Milton's Paradise Lost, Shelley's "Mont Blanc," Shakespeare's King Lear, Wordsworth's The Prelude–suggest that the mode appeals to poetic egoists of a particularly masculinine type.2The heroic sublime of these poets and theorists falters on the physical fact of breathing. Each day of their lives, more than 20,000 times per day, every one of these men, even stern, blind Milton dictating his prophetic poem to dutiful daughters after his revolution had failed, drew nonhuman air into and out of his lungs, exchanging oxygen and carbon dioxide. Each man's thinking continued, while their minds dwelled little on how their body's dependence on alien matter to suspire might impinge upon the heroic sense of self. Even prophets and geniuses, even Wordsworth and Derrida, depend on unconscious patterns. Even the greatest of poets breathes.That's where surfing comes in, in particular Tim Winton's 2008 surf novel Breath, which relates a minor-key epic of surfing against breathing. The novel's core figures devote themselves to intentional oxygen deprivation: our teenage narrator-hero Pikelet; his rebellious buddy Loonie; Sando, the Australian surf-seer they follow; and Sando's American one-time freestyle skier wife, Eva (note the unsubtle symbolism of her name), whose injured knee keeps her off the snow but does not prevent her from chasing sublimity through self-suffocating games that involve sex, a plastic bag, and eventually Pikelet. To court mortality by cutting... (shrink)

이 논문은 고전주의자 부알로가 숭고를 재발견하고 그것을 근대 미학의 중심개념으로 만드는 과정을 밝히는 것을 목적으로 한다. 그는 ‘신구논쟁’의 전사라 할 수 있는 ‘서사시 논쟁’에서 자신의 주장에 대한 전거를 마련하기 위해 롱기노스에게 관심을 갖게 된다. 부알로는 롱기노스의 『숭고에 관하여』를 프랑스어로 번역하고 그것을 ‘신구논쟁’에서 활용함으로써, 숭고개념에 대한 대중적 관심을 불러일으켰다. 서사시 논쟁에서 기독교의 소재를 도입하는 것을 거부하고 고전 작품에서 소재를 찾을 것을 주장했던 부알로는, 숭고에 대해 탐구하면서 기독교의 신에 대한 묘사를 숭고의 원형으로 삼게 된다.BR 이성의 빛으로 시의 규칙을 밝히려 했던 부알로는 이성을 (...) 통해 파악할 수 없고 규칙으로 환원되지 않는 어떤 것이 작품에서 숭고를 만들어낸다는 것을 인정하게 된다. 부알로를 통해 숭고는 예술 기법의 하나인 숭고한 문체를 벗어나, 우리의 영혼을 고양시키고 사로잡는 강렬한 예술 경험을 설명하는 심미적 개념으로 자리 잡게 된다. 이로써 조화로운 질서와 통일로서의 아름다움의 범주를 벗어나는 현상들을 숭고를 통해 설명하려는 근대 미학의 한 흐름이 생겨나게 된다. (shrink)

F.W.J. Schelling, one of the essential thinkers in the development of German Idealism, formed his own thought not only in a critical dialogue with Kant's and Fichte's transcendentalism and Hegel's earlier conception of thinking, but also in an intensive discussion with Plato and Aristotle. Over and above that, Neoplatonism - especially Plotinus, Proclus and the Christian Dionysius the Areopagite - played a decisive role in Schelling's reception and transformation of ancient philosophy.Selecting the manifold aspects which could be reflected on (...) in this field, I want to make plausible as a transcendental analogy to Plotinus' concept of self-knowledge Schelling's requirement for a raising-up and transformation of the finite 'I' into the form of the Absolute, whose central features converge with the goal of the Plotinian self - transformation of thought into a timeless self-thinking and its ground.A main part of this paper discusses Schelling's and Plotinus' concept of nature as a dynamic process constituted by an immanent 'creating theoria'. Furthermore we find in Schelling's theory of the Absolute as the 'utterly One' a union of Plotinus' notion of a pure One beyond Being with that of the reflexive self-presence of nous, so that this Absolute can be understood as an All-Unity which grounds and embraces all actuality - because it is in itself the most unifying self-affirmation or self-mediation. What follows is a reflection on the anagogical function of art, especially from the viewpoint of Plotinus' non-Platonic rehabilitation of art as an imitation of nature. The last perspectives focus on Schelling's concept of matter and emanation - as different from and at the same time coherent with that of Plotinus - and on Schelling's theory of an absolute self - willing will in connection with Plotinus' Enneads VI.8, 'On free will and the will of the One' as a causa sui. (shrink)

A relação entre o sublime e a arte, a princípio, soa natural e certa, mas ao longo do século XVIII algumas teorias afastaram essa categoria da produção artística. Foram décadas notadamente frutíferas nas questões sobre o sublime, período em que não só o sublime recebe seu título de categoria estética como destacadamente participa das questões epistemológicas da recém cunhada disciplina Estética. Nesse cenário, alguns pensadores se voltam exclusivamente para o sublime natural. Esse artigo procurará mostrar o caminho percorrido por esse (...) conceito a partir da recepção pelos ingleses, em 1689, do tratado sobre retórica do século I d.C. intitulado Peri Hypsos, traduzido por Boileu-Despréaux como Sobre o Sublime e atribuído ao crítico grego Cassius Longinus. Visitaremos as teorias de pensadores como Joseph Addison, Edmund Burke e Immanuel Kant, que apontam para o sublime exclusivamente como contemplação da natureza, e encerraremos essa jornada na reinserção do drama trágico na categoria sublime por Friedrich Schiller. Fecha-se, dessa forma, o que chamamos aqui de “ciclo do sublime natural”, que se inicia na leitura característica dos britânicos empiristas, encontra sua mais bem acabada teoria na terceira Crítica kantiana e se encerra no trabalho teórico e literário do poeta de Weimar. (shrink)

It became customary in the eighteenth century to praise Longinus in ways that mimicked one of his own favorite turns of thought—to identify enthusiastically two elements that would more commonly be thought of as quite distinct. To say, with Boileau and Pope, that Longinus “is himself the great Sublime he draws,” or to profess to doubt, as Gibbon did, “which is the most sublime, Homer’s Battle of the Gods or Longinus’ apostrophe…upon it,” is knowingly to override certain conventional lines of (...) demarcation—between writers and their subject matter, between text and interpretation—very much in the manner of Longinus overriding the distinction between Homer and his heroes, between sublime language and its author , or between sublime poet and his audience .1 Longinus’ admirers, struck by the force of the treatise, are usually willing to release him from the strictures of theoretical discourse and allow him the license of a poet; they are likely to appreciate his transgressions of conventional limits without ever calling them into question. It has been left to more skeptical readers, wary of Longinus’ “transports,” to draw attention to his odd movements of thought: W. K. Wimsatt, for example, is unsympathetic but acute when he accuses Longinus of “sliding” from one theoretical distinction to another, a slide “which seems to harbor a certain duplicity and invalidity.”2 Wimsatt is right: something one might want to call a “slide” is observable again and again in the treatise, and not merely from one theoretical distinction to another. One finds in the treatise a rhetorician’s argument conducted with great intelligence and energy, but one also discovers that it is remarkably easy to lose one’s way, to forget which rhetorical topic is under consideration at a particular point, to find oneself attending to a quotation, a fragment of analysis, a metaphor—some interestingly resonant bit of language that draws one into quite another system of relationships. I want to attempt to follow that movement here, to hold it in mind and to question its implications. I will look closely at a number of passages in which Longinus interweaves language of his own with that of the authors he admires—for it is here, out of the play of text with quotation and of quotations with one another, that the most interesting meanings as well as the peculiar power of the treatise are generated.1. ‘Longinus’ On Sublimity, trans. D. A. Russell , 9. 2, 7. 2; all further references to this work will appear in text, though I have changed a word or two of Russell’s translation in the interests of a more literal rendering of the Greek. I am indebted to another recent translation, G. M. A. Grube’s Longinus On Great Writing , and more particularly to the ample and intelligent introduction and notes accompanying Russell’s edition of the Greek text, ‘Longinus’ On the Sublime .2. W. K. Wimsatt, Jr., and Cleanth Brooks, Literary Criticism: A Short History , p.101. (shrink)