Sublimity addresses the nature of the sublime experience itself, and the function that experience has played, and continues to play, within aesthetic discourse. The book both updates and revises existing treatments of the sublime in the eighteenth century, examines its neglected role in the nineteenth century aesthetics, and analyzes the significance of the modifications the concept has undergone in order to serve the interests of contemporary aesthetics. The book thus offers the most comprehensive coverage of the history of the sublime (...) available. (shrink)

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)

Recent Darwin scholarship has provided grounds for recognising the Origin as a literary as well as a scientific achievement. While Darwin was an acute observer, a gifted experimentalist and indefatigable theorist, this essay argues that it was also crucial to his impact that the Origin transcended the putative divide between the scientific and the literary. Analysis of Darwin’s development as a writer between his journal-keeping on HMS Beagle and his construction of the Origin argues the latter draws on the pattern (...) of the Romantic or Kantian sublime. The Origin repeatedly uses strategies which challenge the natural-theological appeal to the imagination in conceiving nature. Darwin’s sublime coaches the Origin’s readers into a position from which to envision nature that reduces and contains its otherwise overwhelming complexity. As such, it was Darwin’s literary achievement that enabled him to fashion a new ‘habit of looking at things in a given way’ that is the centrepiece of the scientific revolution bearing his name. (shrink)

Often labelled as "indescribable," the sublime is a term that has been debated for centuries amongst writers, artists, philosophers and theorists. Usually related to ideas of the great, the awe-inspiring and the overpowering, the sublime has become a complex yet crucial concept in many disciplines. Offering historical overviews and explanations, Philip Shaw looks at: · The legacy of the earliest, classical theories of the sublime through the romantic to the post-modern and avant-garde sublimity · The major theorists of the sublime (...) such as Kant, Burke, Lyotard, Derrida, Lacan and Zizek, offering critical introductions to each · The significance of the concept through a range of literary readings including the Old and New testaments, Homer, Milton and writing from the romantic era · How the concept of the sublime has affected other art forms such as painting and film, from abstract expressionism to David Lynch's neo-noir This remarkably clear study of what is, in essence, a term which evades definition, is essential reading for students of literature, critical and cultural theory. (shrink)

A monograph devoted exclusively to Kant's theory of the sublime a subject currently witnessing a revival amongst European philosophers in relation to debates about the nature of postmodernism.

Philosophical aesthetics have seen an amazing revival over the past decade, as a radical questioning of the very grounds of Western epistemology has revealed that descriptions of what used to be seen as specific to aesthetic experience can instead be viewed as a general model for human cognition. In this revival, no text in the classical corpus of Western philosophy has been more frequently discussed and debated than the dense, complex paragraphs inserted into Kant's Critique of Judgment as sections 23-29: (...) the Analytic of the Sublime. This book is a rigorous explication de texte, a close reading of these sections. The Analytic of the Sublime, he points out, tries to argue that human thought is always constituted through a similar incompatibility between different intellectual and affective faculties. These lessons thus try to isolate the analysis of a differend of feeling in Kant's text, which is also the analysis of a feeling of differend, and to connect this feeling with the transport that leads all thought (critical thought included) to its limits. (shrink)

The aesthetic techniques used in The Expanse are indicative of the infinite space that is an essential and ever‐present character in the show. The cinematography and set design of The Expanse make extensive use of chiaroscuro—a famous artistic technique in the history of painting. For some reason, the infinity of The Expanse attracts us. The look and design of the show indulges us in an experience of the sublime. The dynamically sublime is an experience of infinite power, but not where (...) our survival is threatened by it. The experience of the sublime is one proof of freedom. The absence of the ability to know the significance of what one does in the context of the infinite does not diminish the significance of what they do. The characters of The Expanse know this. They act because they know they must, and they have faith that what they do matters. (shrink)

This collection of texts on the Sublime provides the historical context for the foundation and discussion of one of the most important aesthetic debates of the Enlightenment. The significance of the Sublime in the eighteenth century ranged across a number of fields - literary criticism, empirical psychology, political economy, connoisseurship, landscape design and aesthetics, painting and the fine arts, and moral philosophy - and has continued to animate aesthetic and theoretical debates to this day. However, the unavailability of many of (...) the crucial texts of the founding tradition has resulted in a conception of the Sublime often limited to the definitions of its most famous theorist Edmund Burke. Andrew Ashfield and Peter de Bolla's anthology, which includes an introduction and notes to each entry, offers students and scholars ready access to a much deeper and more complex tradition of writings on the Sublime, many of them never before printed in modern editions. (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)

We call sublime those things and experiences supposed to be the very best. But what if the best actually leads to inequality and exploitation? Williams critiques the sublime over its long history and in recent returns to sublime nature and technologies. Deploying a new critical method that draws on process philosophy, he shows how the sublime has always led to inequality. This holds true even where it underpins ideas of cosmopolitan enlightenment, and even when refined by Burke, Kant, Nietzsche, Schopenhauer (...) and Zizek. Against the unjust legacies of the traditional sublime, James Williams defends a new, anarchist sublime: multiple, self-destructive and temporary; opposed to any idea of highest value to be shared by all but always imposed on the powerless. (shrink)

This edited collection had its origins in a two-day conference held at the Tate Britain, organised collaboratively by research staff and students at Middlesex University and the London Consortium in order to celebrate the 250th Anniversary of the publication of Edmund Burke's famous book on the sublime. The conference was funded by Middlesex University, the London Consortium and the Tate Britain's AHRC-funded "Sublime Object: Nature, Art and Language" research project. The conference set out to critically examine the legacy of the (...) sublime in contemporary art, culture and society and to assess the value and the dangers of this concept as it is articulated in current thought and practice. The book selected from and expanded on the papers delivered at the conference in order to pursue this goal further. It was broken into themed sections (each of which had an introduction), each exploring an different issue around contemporary uses of the sublime. The sections were: 1. Nature, Ecology and the Sublime; 2. The Sublime After Kant; 3. Capitalism, Terror, Art and the Sublime; 4. Baroque and Beyond: Art, Sex and the Sublime; 5. The Cinematic Sublime. The volume reflects the interdisiplinarity of the concept of the sublime today, and includes essays whose appraoches come from aesthetics and ethics, ecological and political thought, psychoanalysis, feminism, film studies, literary studies, art history and popular culture. It includes papers by internationally renowned authors from the UK, America and Europe alongside the new voices of younger academics. The contributors were: Jane Bennett (Johns Hopkins University), Mark Bould (University of the West of England), Eu Jin Chua (London Consortium), Gudrun Filipska (Middlesex University), Cornelia Klinger (Institute for Human Sciences, Vienna / University of Tübingen, Germany), Esther Leslie (Birkbeck), William McDonald (Middlesex Univeristy), Laura Mulvey (Birkbeck), Claire Pajaczkowska (Royal College of Art), Griselda Pollock (University of Leeds), Gene Ray (Geneva University of Art and Design), Bettina Reiber (Central St. Martins), Jan Rosiek (University of Copenhagen), Sherryl Vint (Brock University, Canada), and Luke White (Middlesex University). (shrink)

Over the past decade, radical questioning of the grounds of Western epistemology has revealed that some antinomies of the aesthetic experience can be viewed as a general, yet necessarily open, model for human understanding. This book is a rigorous _explication de texte_ of a central text for this thesis, Kant's Analytic of the Sublime.

Christine Battersby is a leading thinker in the field of philosophy, gender studies and visual and literary aesthetics. In this important new work, she undertakes an exploration of the nature of the sublime, one of the most important topics in contemporary debates about modernity, politics and art. Through a compelling examination of terror, transcendence and the ‘other’ in key European philosophers and writers, Battersby articulates a radical ‘female sublime’. A central feature of The Sublime, Terror and Human Difference is its (...) engagement with recent debates around ‘9/11’, race and Islam. Battersby shows how, since the eighteenth century, the pleasures of the sublime have been described in terms of the transcendence of terror. Linked to the ‘feminine’, the sublime was closed off to flesh-and-blood women, to ‘Orientals’ and to other supposedly ‘inferior’ human types. Engaging with Kant, Burke, the German Romantics, Nietzsche, Derrida, Lyotard, Irigaray and Arendt, as well as with women writers and artists, Battersby traces the history of these exclusions, while finding resources within the history of western culture for thinking human differences afresh The Sublime, Terror and Human Difference is essential reading for students of continental philosophy, gender studies, aesthetics, literary theory, visual culture, and race and social theory. (shrink)

Notice --- Hobbes and Adams as Thucydideans --- Ancient Greece --- Alternative Concepts of the Human Condition --- Medieval Monarchy --- Renaissance Republics --- Founding Fathers --- The Moral Recuperation of Self-Interest --- Other Human Worlds --- Now is the Whimper of Our Self-Contempt --- Culture is the Human Nature.

An abrupt break in the prevailing modes of artistic expression, for many, marks the advent of modernism in the early twentieth century, but revisionary attempts to pin down a precise moment of its emergence remain disputed. History of a Shiver proffers a different approach, tracing the first inkling of modernism instead to the nineteenth century's fascination with music.As Jed Rasula deftly shows, melomania--the passion for music--gave rise to concepts like Richard Wagner's "endless melody" and the Gesamtkunstwerk, or total work of (...) art, which in turn infused the arts of the fin de siècle with an aura of expectancy, challenging them to induce musical effects by their own means. With each art aspiring to produce the effects of another artistic medium, a synesthetic yearning ran like a shiver through the body of art that would emerge over the next half century. Rasula traces this pan-arts polyphony from German Romantic theory to early experiments in "visual music," encompassing such diverse phenomena as American fixation on Arcadia, early film theory, and the lure of the fourth dimension. All the while, he keeps focus on the paramount historical consequence in elevating music to a new universal aesthetic standard, arguing that Wagnerism was first among modern "isms."In surveying this momentous interplay among arts, History of a Shiver ranges from literature, music and painting to theatre, cinema, dance, photography, and civic pageantry. It retells the story of modernism by recovering not an idea, but a feeling--the hair-raising potential for each painting, literary text, or musical composition to herald an unprecedented domain of human enterprise. (shrink)

Based on their critical analysis of Kant's "Critique of Judgment", the authors of this book show from different perspectives in what way the Kantian concept of the sublime is still a main stream of inspiration for contemporary thinking.

Deleuze's relationship to Kant is intricate and fundamental, given that Deleuze develops his transcendental philosophy of difference in large part out of Kant's work. In doing so he utilises the moment of the sublime from the third Critique as the genetic model for the irruption of the faculties beyond their capture within common sense. In this sense, the sublime offers the model not only for transcendental genesis but also for aesthetic experience unleashed from any conditions of possibility. As a result, (...) sensation in both its wider and more specifically artistic senses (senses that become increasingly entwined in Deleuze's work) will explode the clichéés of human perception, and continually reinvent the history of art without recourse to representation. In tracing Deleuze's ‘‘aesthetics’’ from Kant we are therefore returned to the viciously anti-human (and Nietzschean) trajectory of Deleuze's work, while simultaneously being forced to address the extent of its remaining Idealism. Both of these elements play an important part in relation to Deleuze's ‘‘modernism’’, and to the discussion of his possible relevance to contemporary artistic practices. (shrink)

The vivid, dramatic images of distant stars and galaxies taken by the Hubble Space Telescope have come to define how we visualize the cosmos. In their immediacy and vibrancy, photographs from the Hubble show what future generations of space travelers might see should they venture beyond our solar system. But their brilliant hues and precise details are not simply products of the telescope's unprecedented orbital location and technologically advanced optical system. Rather, they result from a series of deliberate decisions made (...) by the astronomers who convert raw data from the Hubble into spectacular pictures by assigning colors, adjusting contrast, and actively composing the images, balancing the desire for an aesthetically pleasing representation with the need for a scientifically valid one. In Picturing the Cosmos, Elizabeth A. Kessler examines the Hubble's deep space images, highlighting the remarkable resemblance they bear to nineteenth-century paintings and photographs of the American West and their invocation of the visual language of the sublime. Drawing on art history and the history of science, as well as interviews with astronomers who work on the Hubble Heritage Project, Kessler traces the ways that the sublime, with its inherent tension between reason and imagination, not only forms the appearance of the images, but also operates on other levels. The sublime informs the dual expression—numeric and pictorial—of digital data and underpins the relevance of the frontier for a new era of exploration performed by our instruments rather than our bodies. Through their engagement with the sublime the Hubble images are a complex act of translation that encourages an experience of the universe as simultaneously beyond humanity's grasp and within the reach of our knowledge. Strikingly illustrated with full-color images, this book reveals the scientific, aesthetic, and cultural significance of the Hubble pictures, offering a nuanced understanding of how they shape our ideas—and dreams—about the cosmos and our places within it. (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)

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)

The paper discusses the category "sublime" as it was used by J.-F. Lyotard. The author argues that Lyotard had made substantial change in the category's content regardless to the history of aesthetics . Lyotard's notion falls in line with notions "differentiation", "ope_ness", "indefinite", "paradoxical", "contradictory", etc. If it is to describe postmo_dern culture, the sublime must be accompanied by other notions, and particularly by notions as "mimesis", "form", "originality", "aesthetic norm", and "catharsis". In accordance with the current developments in Euro-Atlantic (...) culture the author argues that "sublime" is less valid for description now than it was before. Current culture is changing - it prefers norms and canons much wider than during last two decades. The time we were opened to tolerance and differences, is probably over, therefore, the author argues, the postmodern time has come to its end. (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)

SummaryMusic intended to evoke awe-inspiring fear in the presence of transcendence may be found throughout the work of Olivier Messiaen (1908–1992). The emotion's genealogy extends back through Hebrew and Christian scriptures (‘Fear of the Lord’), the Romantic period (‘sublime’), and the early twentieth century (the creature feeling response to the ‘numinous’ and ‘wholly other’). Messiaen's understanding of this emotion particularly derived from distinctions made by the French Catholic spiritual writer Ernest Hello (1828–1885). Hello distinguished between simple fear (la peur) that (...) makes us cower and the fear of ‘awe’ or ‘wonder’ (la crainte) that opens up possibilities of adoration and self-transcendence. This essay surveys several instances of Messiaen's evocations of fear in works dating from the 1940s through the 1970s. It then concludes with a brief consideration of Apparition of the Eternal Church (2008), a documentary film that records auditors’ reactions as they listen through headphones to Messiaen's crushing organ work (c. 1931/2) with the same title. A concluding question is posed to recent research in the ‘history of emotions’. If listeners do not share communal emotional categories of transcendence, to what extent can they experience Messiaen's intended ‘awe’ (la crainte) as something more than mere ‘fear’ (la peur)? (shrink)

Christine Battersby is a leading thinker in the field of philosophy, gender studies and visual and literary aesthetics. In this important new work, she undertakes an exploration of the nature of the sublime, one of the most important topics in contemporary debates about modernity, politics and art. Through a compelling examination of terror, transcendence and the ‘other’ in key European philosophers and writers, Battersby articulates a radical ‘female sublime’. A central feature of _The Sublime, Terror and Human Difference_ is its (...) engagement with recent debates around ‘9/11’, race and Islam. Battersby shows how, since the eighteenth century, the pleasures of the sublime have been described in terms of the transcendence of terror. Linked to the ‘feminine’, the sublime was closed off to flesh-and-blood women, to ‘Orientals’ and to other supposedly ‘inferior’ human types. Engaging with Kant, Burke, the German Romantics, Nietzsche, Derrida, Lyotard, Irigaray and Arendt, as well as with women writers and artists, Battersby traces the history of these exclusions, while finding resources within the history of western culture for thinking human differences afresh _The Sublime, Terror and Human Difference_ is essential reading for students of continental philosophy, gender studies, aesthetics, literary theory, visual culture, and race and social theory. (shrink)

This paper argues that the sublime feeling can only announce itself as a paradoxical mixture of pain and pleasure in an experience of a lost or irrevocable past. Presenting the typical evanescence and inevitable deferral of the past in musical terms, this paper rewrites the sublime feeling as a musical feeling: a suspended feeling wavering in-between apparently opposite intensities of tension and respite. This suspended feeling is analyzed through a juxtaposition of the sublime with Sehnsucht, or the potentially endless longing (...) for an irretrievable past, and trauma, or the potentially endless rehearsal of an unforgettable past. (shrink)

ArgumentDarwin's narrative of the earthquake at Concepción, set within the frameworks of Lyellian uniformitarianism, romantic aesthetics, and the emergence of geology as a popular science, is suggestive of the role of the sublime in geological enquiry and theory in the early nineteenth century. Darwin'sBeaglediary and later notebooks and publications show that the aesthetic of the sublime was both a form of representing geology to a popular audience, and a crucial structure for the observation and recording of the event from the (...) beginning. The awesome spectacle of the earthquake proved in turn the magnitude of the forces at stake in earth history, and helped to make geology an epic conjoining the history of civilization with the history of the earth. (shrink)

This article demonstrates a novel conceptualization of sublimity: the sublime in the pedestrian. This pedestrian mode of sublimity is exemplified by the Biblical Abraham, the central figure of Kierkegaard’s pseudonymous Fear and Trembling. It is rooted in the analysis of one of the foundational stories of the three monotheistic religions: Abraham’s averted sacrifice of his son Isaac. The defining feature of this new, pedestrian mode of sublimity is that is remains hidden behind what I call a total incognito. It is (...) similar to the classical ‘elevated mode of sublimity’ as developed by Burke, Kant, and Schiller insofar as it denotes two contrasting feelings at once: repulsion and attraction. It is different insofar as Kierkegaard’s pedestrian mode of sublimity remains hidden from view and can only be shown indirectly. This article expounds the new, pedestrian mode of sublimity by investigating the relation between the incognito and the sublime in Fear and Trembling. It achieves that goal by engaging three perspectives: (1) the sublime failure that comes to the fore in the incognitos of an imaginary Abraham; (2) the ‘fear without being afraid’ that is invoked by God’s incognitos; (3) the total incognito of the pedestrian which conceals Abraham’s sublimity. (shrink)

This paper is Part II of my study entitled “Approaching the Parmenidean Sublime: A New Translation and Resequencing of the Fragments of Parmenides.” What I seek to accomplish here is to elaborate on my resequencing/translation decisions, and take up the more thorny philosophical/juridical aspects of my position previously mentioned, yet condensed, in “Notes to Translator’s Introduction,” and “Notes on the Fragments.” I believe that this continued engagement with the fragments of Parmenides makes up the “dutiful apprenticeship” intrinsically represented in the (...) poem’s teacher-student exchange, and in the request to convey the story. The request to convey the story is still alive and well in Parmenidean studies. This passing along of a teaching, its history, and its style, makes up the essence of an apprenticeship, whether artistic, philosophical, or as a social ontology. To streamline my references to the poem, I will use only my translated and resequenced fragment and line numbers found in my article, “Approaching the Parmenidean Sublime: A New Translation and Resequencing of the Fragments of Parmenides,” from Volume 23, Number 1, pages 1–18, Fall 2018, of this journal. (shrink)

One of the most tangled problems of philosophical thought is the “sublime” character of logic. By logic’s “sublimity” I mean to refer both to its ontologically privileged and to its ontologically unclarified or obscure status. Logic’s ontological privilege stems from the fact that logic and its methods have always overtly or covertly determined ontological inquiry. It is certainly arguable that Aristotle’s invention of logic and his invention of metaphysics are so related that formal structures deriving from the former are translated (...) into ontological structures of the latter. Given the patent and potent Aristotelian influence, medieval logic and ontology are similarly intertwined. In the modern period, the strong determinative connection between logic and ontology in Leibniz, Spinoza, and Kant is indisputable. In the twentieth century, an influential world-hypothesis such as that proposed by the early Wittgenstein in the Tractatus Logico-Philosophicus is a shining example of an ontology based on the “peculiar depth” of logic. A more recent and perhaps even more shining example is the ontology of “possible worlds” based on the work of Kripke in Naming and Necessity. Given this rather incestuous relationship between logic and ontology—we might call it the “history of the sublimity of logic”—the need for an ontological clarification of logic is imperative. (shrink)

L'histoire du sublime, presque aussi ancienne que la philosophie, concerne, de nos jours, la plupart des disciplines qui la constituent esthétique, politique, éthique, anthropologie. Les philosophes ont d'abord pensé le sublime dans la sphère du discours. Ils ont étendu ensuite son domaine aux différents arts et aux grands phénomènes de la nature,- pour étudier, enfin, son apparition dans diverses formes d'activité humaine, comme les sciences et les techniques. Le sublime confronte la philosophie aux limites de son pouvoir, en vue de (...) la mettre en échec ou de lui permettre d'aller plus loin. Il opère à la fois comme principe de connaissance et comme principe de métamorphose. D'une part, il subvertit les valeurs du beau, du vrai et du bon, d'autre part, il me transcende ou me sublime, au sens très général où la sublimation est dépassement de soi. Le présent livre vise à redonner au sublime la place qu'il mérite dans notre système éducatif et dans nos vies : celle d'une épreuve initiatrice, susceptible d'insuffler la vie à des connaissances qui resteraient sinon formelles et tronquées. Il cherche également à nous orienter vers une science possible du sujet qui prenne en compte la vocation de l'homme à se transcender lui-même. (shrink)

INTRODUCTION The most remarkable feature of the character of the Persian people is their love of Metaphysical speculation. Yet the inquirer who approaches the extant literature of Persia expecting to find any comprehensive systems of thought, like those of Kapila or Kant, will have to turn back disappointed, though deeply impressed by the wonderful intellectual subtlety displayed therein. It seems to me that the Persian mind is rather impatient of detail, and consequently destitute of that organising faculty which gradually works (...) out a system of ideas, by interpreting the fundamental principles with reference to the ordinary facts of observation. The subtle Brahman sees the inner unity of things; so does the Persian. But while the former endeavours to discover it in all the aspects of human experience, and illustrates its hidden presence in the concrete in various ways, the latter appears to be satisfied with a bare universality, and does not attempt to verify the richness of its inner content. The butterfly imagination of the Persian, flies half-inebriated as it were, from flower to flower, and seems to be incapable of reviewing the garden as a whole. For this reason, his deepest thoughts and emotions find expression mostly in disconnected verses (Ghazal), which reveal all the subtlety of his artistic soul. The Hindu, while admitting, like the Persian, the necessity of a higher source of knowledge, yet calmly moves from experience to experience, mercilessly dissecting them, and forcing them to yield their underlying universality. In fact the Persian is only half-conscious of Metaphysics as a system of thought; his Brahman brother, on the other hand, is fully alive to the need of presenting his theory in the form of a thoroughly reasoned out system. And the result of this mental difference between the two nations is clear. In the one case we have only partially worked out systems of thought; in the other case, the awful sublimity of the searching Vedanta ... (shrink)

This article addresses the ways in which art and philosophy have been discursively used to conceptualize critical political changes and frame narratives of liberation by including and excluding primitive consciousness simultaneously. More concretely, it analyzes the contribution of art and philosophy to the understanding of history and post-history through different representations of black bodies, black desires, and black agencies in the novels She (1886) by Rider Haggard and The Quest of the Silver Fleece (1911) by W. E. B. Du Bois. (...) At stake is the question of the archeology of the past as a living memory in the post-historical time. This past is politically relevant especially if its cognitive fossils negate the idea of exhausted primitive consciousness in the modern world and give meanings to incongruous bedfellows such as civilization and slavery, neoliberalism and poverty, democracy and Nazism, globalization, terrorism and racism, liberalism and homophobia. Arguably, the triumph of scientific ideas has left us with a perpetual quest for liberation rather than the actualization of liberation as a world phenomenon. I hypothesize the relation between exhaustible elements of technical consciousness simulating progress and their inexhaustible materiality at critical historical junctures as a struggle for taste and self-determination. Critical in this relation is the sense that not only primitive stages of consciousness are never fully exhausted at historical junctures, but that one never comes close to thinking about genuine liberation without engaging with real world matters both domestic/intimate and foreign. (shrink)

This book examines the role of scepticism in initiating the idea of the sublime in early modern British literature. James Noggle draws on philosophy, intellectual history, and critical theory to illuminate the aesthetic ideology of Pope, Swift, Dryden, and Rochester among other important writers of the period. The Skeptical Sublime compares the view of sublimity presented by these authors with that of the dominant, liberal tradition of eighteenth-century criticism to offer a new understanding of how these writers helped construct proto-aesthetic (...) categories that stabilized British culture after years of civil war and revolution, while at the same time their scepticism allowed them to express ambivalence about the emerging social order. (shrink)

In Hegel's 'Aesthetics', one can find a strong distinction between the Hebraic, true sublimity and the Indian, positive sublime. The main thesis of our article is that, from the rhetorical and cognitive point of view, the two sublimities do not form an opposition, although from the theological point of view they do. In order to affirm the thesis, we briefly analyze the main figures of the sublime as presented in Pseudo-Longinos' 'On the Sublime' and the concept of the sublime in (...) Kant. According to our theory of the sublime, the Lyotardian formula of the sublime as 'presenting the unpresentable' should be expressed as 'representing the unimaginable'. When we examine the main examples of the Hebraic and the Indian sublime, we can easily see that in both literary cultures we can find a strong mimetic element as well as antimimetic evocation of the unimaginable. We identify the mimetic element in the sublime texts not only with space seen in accord with Kant but also with 'mimesis of emotion' which is regarded as the main form of mimesis in the ancient Greek tradition, for instance in Plato. (shrink)

This essay interprets Dipesh Chakrabarty’s The Climate of History in a Planetary Age in light of the European tradition of thought about the sublime. The first half of the essay stages Chakrabarty’s historiography within that tradition focusing on a critical understanding of Kant. Then, the essay considers how the trace of the sublime in Chakrabarty’s approach to planetary history is interpretable as a form of social alienation. That argument draws on the critical theory of Steven Vogel and decolonial critique. Finally, (...) the essay considers the moods of protest as non-alienated responses to the planetary bypassing the coloniality of the sublime. (shrink)

The Sublime Reader, edited by Robert Clewis, provides a broad selection of 38 authors who attempt to describe, analyse, and explain that elusive object, feeling or experience consisting of “both el...

ArgumentThe discovery of the Alps in the second half of the eighteenth century spawned an aesthetics of sublimity that enabled overwhelmed beholders of mountains to overcome their confusion symbolically by transforming initial speechlessness into pictures and words. When travelers ceased to be content with beholding mountains, however, and began climbing them, the sublime shudder turned into something else. In the snowy heights, all attempts to master symbolically the challenging landscape was thwarted by vertigo, somnolence, and fatigue. After 1850, physiologists intervened, (...) using the Alpine terrain as a laboratory landscape that was ideally suited to examine one of the most threatening concerns offin de siècleindustrial societies: fatigue. This essay examines how the picturesque voyage turned into an experimental physiology of fatigue, and how the “wordless subjectivity” of romantic travelers turned into the “wordless objectivity” of life scientists. (shrink)

With its pessimistic vision and bleak message of world-denial, it has often been difficult to know how to engage with Schopenhauer's philosophy. Schopenhauer's arguments have seemed flawed and his doctrines marred by inconsistencies; his very pessimism almost too flamboyant to be believable. Yet a way of redrawing this engagement stands open, Sophia Vasalou argues, if we attend more closely to the visionary power of Schopenhauer's work. The aim of this book is to place the aesthetic character of Schopenhauer's standpoint at (...) the heart of the way we read his philosophy and the way we answer the question: why read Schopenhauer - and how? Approaching his philosophy as an enactment of the sublime with a longer history in the ancient philosophical tradition, Vasalou provides a fresh way of assessing Schopenhauer's relevance in critical terms. This book will be valuable for students and scholars with an interest in post-Kantian philosophy and ancient ethics. (shrink)

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 (...) of convenience”, a “marriage for the sake of reason”, a “troubling interaction ”, a “precarious relationship”, or one at risk of “ epistemological derangement”. -/- My paper has three aims. First, I characterise two idealised perspectives in this impasse: the sublimers and subversives. Then I describe a curious dynamic in which each perspective accuses the other of, simultaneously, claiming too little and too much. Subliming is dismissed for being scholastic, and condemned for being imperialist. Subverting is disparaged for being merely sociological, then criticised for being irrational or relativist. Here I draw on and extend the analyses of science studies in Kitcher, Zammito and others. Second, I argue that sublimers and subversives often talk past each other. Their mutual dismissals and condemnations arise partly because each perspective misconstrues the other’s claims. Each fails to see that the other is interested in different problems and interprets concepts differently. Third, I suggest that my analysis clarifies some current disagreements and old debates about contingency in science. It may also apply to debates on the contingency of norms in non- scientific realms. (shrink)

This paper studies the language of contractility in Burke's Enquiry, showing it to be closely related to types of heterodox medicine including the work of his father-in-law Christopher Nugent. Extensive connections are located between these medical ideas and questions of social and professional identity, including their visual aspects in contemporary portraiture. This essay finally examines the crucial significance of contractility as the discursive template upon which Burke's aesthetic ideas were modelled, and, accordingly, offers a new genealogy and a new definition (...) of the concept of the sublime as a radical ideal of extreme oppositions with important literary, epistemological and political implications. (shrink)