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aesthetics Aesthetics, or esthetics, is a branch of philosophy that deals with the nature of beauty and taste, as well as the philosophy of art (its own area of philosophy that comes out of aesthetics). It examines aesthetic values, often expressed t ...
, the sublime (from the
Latin Latin (, or , ) is a classical language belonging to the Italic branch of the Indo-European languages. Latin was originally a dialect spoken in the lower Tiber area (then known as Latium) around present-day Rome, but through the power of the ...
'' sublīmis'') is the
quality Quality may refer to: Concepts *Quality (business), the ''non-inferiority'' or ''superiority'' of something *Quality (philosophy), an attribute or a property *Quality (physics), in response theory * Energy quality, used in various science discipl ...
of greatness, whether physical, moral,
intellectual An intellectual is a person who engages in critical thinking, research, and reflection about the reality of society, and who proposes solutions for the normative problems of society. Coming from the world of culture, either as a creator or a ...
,
metaphysical Metaphysics is the branch of philosophy that studies the fundamental nature of reality, the first principles of being, identity and change, space and time, causality, necessity, and possibility. It includes questions about the nature of conscio ...
, aesthetic, spiritual, or
art Art is a diverse range of human activity, and resulting product, that involves creative or imaginative talent expressive of technical proficiency, beauty, emotional power, or conceptual ideas. There is no generally agreed definition of wha ...
istic. The term especially refers to a greatness beyond all possibility of calculation, measurement, or imitation. Since its first application in the field of rhetoric and drama in
ancient Greece Ancient Greece ( el, Ἑλλάς, Hellás) was a northeastern Mediterranean Sea, Mediterranean civilization, existing from the Greek Dark Ages of the 12th–9th centuries BC to the end of Classical Antiquity, classical antiquity ( AD 600), th ...
it became an important concept not just in philosophical aesthetics but also in literary theory and
art history Art history is the study of aesthetic objects and visual expression in historical and stylistic context. Traditionally, the discipline of art history emphasized painting, drawing, sculpture, architecture, ceramics and decorative arts; yet today ...
. Digital sublime refers to certain perceptions of
information technology Information technology (IT) is the use of computers to create, process, store, retrieve, and exchange all kinds of Data (computing), data . and information. IT forms part of information and communications technology (ICT). An information te ...
.


Ancient philosophy

The first known study of the ''sublime'' is ascribed to Longinus: Peri Hupsous/Hypsous or ''
On the Sublime ''On the Sublime'' (Greek: Περì Ὕψους Perì Hýpsous; Latin: ''De sublimitate'') is a Roman-era Greek work of literary criticism dated to the 1st century- C.E.. Its author is unknown, but is conventionally referred to as Longinus (; g ...
''. This is thought to have been written in the 1st century AD though its origin and authorship are uncertain. For Longinus, the sublime is an adjective that describes great, elevated, or lofty thought or language, particularly in the context of rhetoric. As such, the sublime inspires awe and veneration, with greater persuasive powers. Longinus' treatise is also notable for referring not only to Greek authors such as
Homer Homer (; grc, Ὅμηρος , ''Hómēros'') (born ) was a Greek poet who is credited as the author of the ''Iliad'' and the ''Odyssey'', two epic poems that are foundational works of ancient Greek literature. Homer is considered one of the ...
, but also to biblical sources such as Genesis. This treatise was rediscovered in the 16th century, and its subsequent impact on aesthetics is usually attributed to its translation into French by linguist
Nicolas Boileau-Despréaux Nicolas Boileau-Despréaux (; 1 November 1636 – 13 March 1711), often known simply as Boileau (, ), was a French poet and critic. He did much to reform the prevailing form of French poetry, in the same way that Blaise Pascal did to reform the ...
in 1674. Later the treatise was translated into English by John Pultney in 1680,
Leonard Welsted Leonard Welsted (''baptised'' 3 June 1688 – August 1747) was an English poet and "dunce" in Alexander Pope's writings (both in ''The Dunciad'' and in ''Peri Bathos''). Welsted was an accomplished writer who composed in a relaxed, light heart ...
in 1712, and William Smith in 1739 whose translation had its fifth edition in 1800.


Modern philosophy

The concept of the sublime emerged in Europe with the birth of literary criticism in the late 17th century. It was associated with the works of the French writers Pierre Corneille, Jean-Baptiste Racine, Jean-Baptiste l'Abbé Dubos, and
Nicolas Boileau-Despréaux Nicolas Boileau-Despréaux (; 1 November 1636 – 13 March 1711), often known simply as Boileau (, ), was a French poet and critic. He did much to reform the prevailing form of French poetry, in the same way that Blaise Pascal did to reform the ...
.


British philosophy

In Britain, the development of the concept of the sublime as an aesthetic quality in nature distinct from beauty was brought into prominence in the 18th century in the writings of Anthony Ashley-Cooper, third earl of Shaftesbury, and John Dennis. These authors expressed an appreciation of the fearful and irregular forms of external nature, and
Joseph Addison Joseph Addison (1 May 1672 – 17 June 1719) was an English essayist, poet, playwright and politician. He was the eldest son of The Reverend Lancelot Addison. His name is usually remembered alongside that of his long-standing friend Richar ...
's synthesis of concepts of the sublime in his ''
The Spectator ''The Spectator'' is a weekly British magazine on politics, culture, and current affairs. It was first published in July 1828, making it the oldest surviving weekly magazine in the world. It is owned by Frederick Barclay, who also owns ''The ...
'', and later the ''Pleasures of the Imagination''. All three Englishmen had, within the span of several years, made the journey across the
Alps The Alps () ; german: Alpen ; it, Alpi ; rm, Alps ; sl, Alpe . are the highest and most extensive mountain range system that lies entirely in Europe, stretching approximately across seven Alpine countries (from west to east): France, Swi ...
and commented in their writings of the horrors and harmony of the experience, expressing a contrast of aesthetic qualities. John Dennis was the first to publish his comments in a journal letter published as ''Miscellanies'' in 1693, giving an account of crossing the Alps where, contrary to his prior feelings for the beauty of nature as a "delight that is consistent with reason", the experience of the journey was at once a pleasure to the eye as music is to the ear, but "mingled with Horrours, and sometimes almost with despair".Nicolson, Marjorie Hope. "Sublime in External Nature". ''Dictionary of the History of Ideas''. New York, 1974. Shaftesbury had made the journey two years prior to Dennis but did not publish his comments until 1709 in the ''Moralists''. His comments on the experience also reflected pleasure and repulsion, citing a "wasted mountain" that showed itself to the world as a "noble ruin" (Part III, Sec. 1, 390–91), but his concept of the sublime in relation to beauty was one of degree rather than the sharp contradistinction that Dennis developed into a new form of literary criticism. Shaftesbury's writings reflect more of a regard for the awe of the infinity of space ("Space astonishes" referring to the Alps), where the sublime was not an aesthetic quality in opposition to beauty, but a quality of a grander and higher importance than beauty. In referring to the Earth as a "Mansion-Globe" and "Man-Container" Shaftsbury writes "How narrow then must it appear compar'd with the capacious System of its own Sun...tho animated with a sublime Celestial Spirit...." (Part III, sec. 1, 373). Joseph Addison embarked on the
Grand Tour The Grand Tour was the principally 17th- to early 19th-century custom of a traditional trip through Europe, with Italy as a key destination, undertaken by upper-class young European men of sufficient means and rank (typically accompanied by a tut ...
in 1699 and commented in ''Remarks on Several Parts of Italy etc.'' that "The Alps fill the mind with an agreeable kind of horror". The significance of Addison's concept of the sublime is that the three pleasures of the imagination that he identified—greatness, uncommonness, and beauty—"arise from visible objects"; that is, from sight rather than from rhetoric. It is also notable that in writing on the "Sublime in external Nature", he does not use the term "sublime" but uses semi-synonymous terms such as "unbounded", "unlimited", "spacious", "greatness", and on occasion terms denoting excess. The British description of the sublime has been described as distinct from the Kantian conceptualization, which emphasized a detachment of aesthetic judgment. The British tradition is noted for its rejection of the idea that aesthetic judgment and ethical conduct are not connected. One of its positions holds that the affective register of the sublime is not divorced from the standards that govern human conduct and that it does not transcend ethical conduct.


Edmund Burke

Addison's notion of greatness was integral to the concept of sublimity. An object of art could be beautiful yet it could not possess greatness. His ''Pleasures of the Imagination'', as well as Mark Akenside's '' Pleasures of the Imagination'' of 1744 and Edward Young's poem ''
Night Thoughts ''The Complaint: or, Night-Thoughts on Life, Death, & Immortality'', better known simply as ''Night-Thoughts'', is a long poem by Edward Young published in nine parts (or "nights") between 1742 and 1745. It was illustrated with notable engrav ...
'' of 1745 are generally considered the starting points for Edmund Burke's analysis of sublimity.
Edmund Burke Edmund Burke (; 12 January NS.html"_;"title="New_Style.html"_;"title="/nowiki>New_Style">NS">New_Style.html"_;"title="/nowiki>New_Style">NS/nowiki>_1729_–_9_July_1797)_was_an_NS.html"_;"title="New_Style.html"_;"title="/nowiki>New_Style">N ...
developed his conception of sublimity in ''
A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful ''A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful'' is a 1757 treatise on aesthetics written by Edmund Burke. It was the first complete philosophical exposition for separating the beautiful and the sublime into th ...
'' of 1756. Burke was the first philosopher to argue that sublimity and beauty are ''mutually exclusive''. The dichotomy that Burke articulated is not as simple as Dennis' opposition, and is antithetical in the same degree as light and darkness. Light may accentuate beauty, but either great light or darkness, i. e., the absence of light, is sublime to the extent that it can annihilate vision of the object in question. What is "dark, uncertain, and confused" moves the imagination to awe and a degree of horror. While the relationship of sublimity and beauty is one of mutual exclusivity, either can provide pleasure. Sublimity may evoke horror, but knowledge that the perception is a fiction is pleasureful. Burke's concept of sublimity was an antithetical contrast to the classical conception of the aesthetic quality of beauty being the pleasurable experience that
Plato Plato ( ; grc-gre, Πλάτων ; 428/427 or 424/423 – 348/347 BC) was a Greek philosopher born in Athens during the Classical period in Ancient Greece. He founded the Platonist school of thought and the Academy, the first institution ...
described in several of his dialogues, e. g. '' Philebus'', ''
Ion An ion () is an atom or molecule with a net electrical charge. The charge of an electron is considered to be negative by convention and this charge is equal and opposite to the charge of a proton, which is considered to be positive by conve ...
'', ''
Hippias Major ''Hippias Major'' (or ''What is Beauty?'' or ''Greater Hippias'' ( el, Ἱππίας μείζων, ''Hippías meízōn''), to distinguish it from the '' Hippias Minor'', which has the same chief character), is one of the dialogues of Plato, altho ...
'', and '' Symposium'', and suggested that ugliness is an aesthetic quality in its capacity to instill intense emotions, ultimately providing pleasure. For
Aristotle Aristotle (; grc-gre, Ἀριστοτέλης ''Aristotélēs'', ; 384–322 BC) was a Greek philosopher and polymath during the Classical period in Ancient Greece. Taught by Plato, he was the founder of the Peripatetic school of ph ...
, the function of artistic forms was to instill pleasure, and he first pondered the problem that an object of art representing ugliness produces "pain." Aristotle's detailed analysis of this problem involved his study of tragic literature and its paradoxical nature as both shocking and having poetic value. The classical notion of ugliness prior to Edmund Burke, most notably described in the works of
Saint Augustine of Hippo Augustine of Hippo ( , ; la, Aurelius Augustinus Hipponensis; 13 November 354 – 28 August 430), also known as Saint Augustine, was a theologian and philosopher of Berber origin and the bishop of Hippo Regius in Numidia, Roman North Afric ...
, denoted it as the absence of form and therefore as a degree of non-existence. For St. Augustine, beauty is the result of the benevolence and goodness of God in His creation, and as a category it had no opposite. Because ugliness lacks any attributive value, it is formless due to the absence of beauty. Burke's treatise is also notable for focusing on the physiological effects of sublimity, in particular the dual emotional quality of fear and attraction that other authors noted. Burke described the sensation attributed to sublimity as a ''negative pain'', which he denominated "delight" and which is distinct from positive pleasure. "Delight" is thought to result from the removal of pain, caused by confronting a sublime object, and supposedly is more intense than positive pleasure. Though Burke's explanations for the physiological effects of sublimity, e. g. tension resulting from eye strain, were not seriously considered by later authors, his empirical method of reporting his own psychological experience was more influential, especially in contrast to the analysis of
Immanuel Kant Immanuel Kant (, , ; 22 April 1724 – 12 February 1804) was a German philosopher and one of the central Enlightenment thinkers. Born in Königsberg, Kant's comprehensive and systematic works in epistemology, metaphysics, ethics, and ...
. Burke is also distinguished from Kant in his emphasis on the subject's realization of his physical limitations rather than any supposed sense of moral or spiritual transcendence.


German philosophy


Immanuel Kant

Immanuel Kant Immanuel Kant (, , ; 22 April 1724 – 12 February 1804) was a German philosopher and one of the central Enlightenment thinkers. Born in Königsberg, Kant's comprehensive and systematic works in epistemology, metaphysics, ethics, and ...
, in 1764, made an attempt to record his thoughts on the observing subject's mental state in '' Observations on the Feeling of the Beautiful and Sublime''. He held that the sublime was of three kinds: the noble, the splendid, and the terrifying. In his '' Critique of Judgment'' (1790), Kant officially says that there are two forms of the sublime, the mathematical and the dynamical, although some commentators hold that there is a third form, the moral sublime, a hold-over from the earlier "noble" sublime. Kant claims, "We call that sublime which is absolutely great"(§ 25). He distinguishes between the "remarkable differences" of the Beautiful and the Sublime, noting that beauty "is connected with the form of the object", having "boundaries", while the sublime "is to be found in a formless object", represented by a "boundlessness" (§ 23). Kant evidently divides the sublime into the mathematical and the dynamical, where in the mathematical "aesthetical comprehension" is not a consciousness of a mere greater unit, but the notion of absolute greatness not inhibited with ideas of limitations (§ 27). The dynamically sublime is "nature considered in an aesthetic judgment as might that has no dominion over us", and an object can create a fearfulness "without being afraid ''of'' it" (§ 28). He considers both the beautiful and the sublime as "indefinite" concepts, but where beauty relates to the "Understanding", sublime is a concept belonging to "Reason", and "shows a faculty of the mind surpassing every standard of Sense" (§ 25). For Kant, one's inability to grasp the magnitude of a sublime event such as an earthquake demonstrates inadequacy of one's sensibility and imagination. Simultaneously, one's ability to subsequently identify such an event as singular and whole indicates the superiority of one's cognitive, supersensible powers. Ultimately, it is this "supersensible substrate," underlying both nature and thought, on which true sublimity is located.


Arthur Schopenhauer

To clarify the concept of the feeling of the sublime, Arthur Schopenhauer listed examples of its transition from the beautiful to the most sublime. This can be found in the first volume of his ''
The World as Will and Representation ''The World as Will and Representation'' (''WWR''; german: Die Welt als Wille und Vorstellung, ''WWV''), sometimes translated as ''The World as Will and Idea'', is the central work of the German philosopher Arthur Schopenhauer. The first editio ...
'', § 39. For him, the feeling of the beautiful is in seeing an object that invites the observer to transcend individuality, and simply observe the idea underlying the object. The feeling of the sublime, however, is when the object does not invite such contemplation but instead is an overpowering or vast malignant object of great magnitude, one that could destroy the observer. *''Feeling of Beauty'' – Light is reflected off a flower. (Pleasure from a mere perception of an object that cannot hurt observer). *''Weakest Feeling of Sublime'' – Light reflected off stones. (Pleasure from beholding objects that pose no threat, objects devoid of life). *''Weaker Feeling of Sublime'' – Endless desert with no movement. (Pleasure from seeing objects that could not sustain the life of the observer). *''Sublime'' – Turbulent Nature. (Pleasure from perceiving objects that threaten to hurt or destroy observer). *''Full Feeling of Sublime'' – Overpowering turbulent Nature. (Pleasure from beholding very violent, destructive objects). *''Fullest Feeling of Sublime'' – Immensity of Universe's extent or duration. (Pleasure from knowledge of observer's nothingness and oneness with Nature).


Georg Wilhelm Friedrich Hegel

Georg Wilhelm Friedrich Hegel Georg Wilhelm Friedrich Hegel (; ; 27 August 1770 – 14 November 1831) was a German philosopher. He is one of the most important figures in German idealism and one of the founding figures of modern Western philosophy. His influence extends ...
considered the sublime a marker of cultural difference and a characteristic feature of oriental art. His
teleological Teleology (from and )Partridge, Eric. 1977''Origins: A Short Etymological Dictionary of Modern English'' London: Routledge, p. 4187. or finalityDubray, Charles. 2020 912Teleology" In ''The Catholic Encyclopedia'' 14. New York: Robert Appleton ...
view of history meant that he considered "oriental" cultures as less developed, more
autocratic Autocracy is a system of government in which absolute power over a state is concentrated in the hands of one person, whose decisions are subject neither to external legal restraints nor to regularized mechanisms of popular control (except per ...
in terms of their political structures and more fearful of
divine law Divine law is any body of law that is perceived as deriving from a transcendent source, such as the will of God or godsin contrast to man-made law or to secular law. According to Angelos Chaniotis and Rudolph F. Peters, divine laws are typicall ...
. According to his reasoning, this meant that oriental artists were more inclined towards the aesthetic and the sublime: they could engage God only through "sublated" means. He believed that the excess of intricate detail that is characteristic of
Chinese art Chinese art is visual art that originated in or is practiced in China, Greater China or by Chinese artists. Art created by Chinese residing outside of China can also be considered a part of Chinese art when it is based in or draws on Chinese ...
, or the dazzling metrical patterns characteristic of
Islamic art Islamic art is a part of Islamic culture and encompasses the visual arts produced since the 7th century CE by people who lived within territories inhabited or ruled by Muslim populations. Referring to characteristic traditions across a wide ra ...
, were typical examples of the sublime and argued that the disembodiment and formlessness of these art forms inspired the viewer with an overwhelming aesthetic sense of awe.


Rudolf Otto

Rudolf Otto compared the sublime with his newly coined concept of the
numinous Numinous () is a term derived from the Latin ''numen'', meaning "arousing spiritual or religious emotion; mysterious or awe-inspiring."Collins English Dictionary -7th ed. - 2005 The term was given its present sense by the German theologian and ph ...
. The numinous comprises terror, ''Tremendum'', but also a strange fascination, ''Fascinans''.


Contemporary philosophy


20th century

At the beginning of the 20th century
Neo-Kantian In late modern continental philosophy, neo-Kantianism (german: Neukantianismus) was a revival of the 18th-century philosophy of Immanuel Kant. The Neo-Kantians sought to develop and clarify Kant's theories, particularly his concept of the "thi ...
German philosopher and theorist of aesthetics Max Dessoir founded the ''Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft'', which he edited for many years, and published the work ''Ästhetik und allgemeine Kunstwissenschaft'' in which he formulated five primary aesthetic forms: the beautiful, the sublime, the tragic, the ugly, and the comic. The experience of the sublime involves a self-forgetfulness where personal fear is replaced by a sense of well-being and security when confronted with an object exhibiting superior might, and is similar to the experience of the tragic. The "tragic consciousness" is the capacity to gain an exalted state of consciousness from the realization of the unavoidable suffering destined for all men and that there are oppositions in life that can never be resolved, most notably that of the "forgiving generosity of deity" subsumed to "inexorable fate". Thomas Weiskel re-examined Kant's aesthetics and the Romantic conception of the sublime through the prism of semiotic theory and
psychoanalysis PsychoanalysisFrom Greek: + . is a set of theories and therapeutic techniques"What is psychoanalysis? Of course, one is supposed to answer that it is many things — a theory, a research method, a therapy, a body of knowledge. In what might b ...
. He argued that Kant's "mathematical sublime" could be seen in semiotic terms as the presence of an excess of signifiers, a monotonous infinity threatens to dissolve all oppositions and distinctions. The "dynamic sublime", on the other hand, was an excess of signifieds: meaning was always overdetermined. According to
Jean-François Lyotard Jean-François Lyotard (; ; ; 10 August 1924 – 21 April 1998) was a French philosopher, sociologist, and literary theorist. His interdisciplinary discourse spans such topics as epistemology and communication, the human body, modern art and ...
, the sublime, as a theme in aesthetics, was the founding move of the
Modernist Modernism is both a philosophy, philosophical and arts movement that arose from broad transformations in Western world, Western society during the late 19th and early 20th centuries. The movement reflected a desire for the creation of new fo ...
period. Lyotard argued that the modernists attempted to replace the beautiful with the release of the perceiver from the constraints of the human condition. For him, the sublime's significance is in the way it points to an ''
aporia In philosophy, an aporia ( grc, ᾰ̓πορῐ́ᾱ, aporíā, literally: "lacking passage", also: "impasse", "difficulty in passage", "puzzlement") is a conundrum or state of puzzlement. In rhetoric, it is a declaration of doubt, made for ...
'' (impassable doubt) in human reason; it expresses the edge of our conceptual powers and reveals the multiplicity and instability of the postmodern world.


21st century

According to Mario Costa, the concept of the sublime should be examined first of all in relation to the epochal novelty of digital technologies, and technological artistic production:
new media art New media art includes artworks designed and produced by means of electronic media technologies, comprising virtual art, computer graphics, computer animation, digital art, interactive art, sound art, Internet art, video games, robotics, 3D pri ...
, computer-based
generative art Generative art refers to art that in whole or in part has been created with the use of an autonomous system. An autonomous system in this context is generally one that is non-human and can independently determine features of an artwork that w ...
, networking, telecommunication art. For him, the new technologies are creating conditions for a new kind of sublime: the "technological sublime". The traditional categories of aesthetics (beauty, meaning, expression, feeling) are being replaced by the notion of the sublime, which after being "natural" in the 18th century, and "metropolitan-industrial" in the modern era, has now become technological. There has also been some resurgence of interest in the sublime in analytic philosophy since the early 1990s, with occasional articles in ''The Journal of Aesthetics and Art Criticism'' and ''The British Journal of Aesthetics'', as well as monographs by writers such as Malcolm Budd, James Kirwan and Kirk Pillow. As in the postmodern or critical theory tradition, analytic philosophical studies often begin with accounts of Kant or other philosophers of the 18th or early 19th centuries. Noteworthy is a general theory of the sublime, in the tradition of Longinus, Burke and Kant, in which Tsang Lap Chuen takes the notion of limit-situations in human life as central to the experience. Jadranka Skorin-Kapov in ''The Intertwining of Aesthetics and Ethics: Exceeding of Expectations, Ecstasy, Sublimity'' argues for sublimity as the common root to aesthetics and ethics, "The origin of surprise is the break (the pause, the rupture) between one's sensibility and one's powers of representation... The recuperation that follows the break between one's sensibility and one's representational capability leads to sublimity and the subsequent feelings of admiration and/or responsibility, allowing for the intertwining of aesthetics and ethics... The roles of aesthetics and ethics—that is, the roles of artistic and moral judgments, are very relevant to contemporary society and business practices, especially in light of the technological advances that have resulted in the explosion of visual culture and in the mixture of awe and apprehension as we consider the future of humanity."


See also

* Digital sublime *
Overview effect The overview effect is a cognitive shift reported by some astronauts while viewing the Earth from space. Researchers have characterized the effect as "a state of awe with self-transcendent qualities, precipitated by a particularly striking vis ...
*
Sublime (literary) The sublime in literature refers to use of language and description that excites the senses of the reader to a degree that exceeds the ordinary limits of that individual's capacities. Origin The earliest text on the sublime was written sometime ...


References


Further reading

* Addison, Joseph. ''The Spectator''. Ed. Donald E. Bond. Oxford, 1965. *Beidler. P. G. ‘The Postmodern Sublime: Kant and Tony Smith’s Anecdote of the Cube’. ''The Journal of Aesthetics and Art Criticism'', Vol. 53, No. 2 (Spring 1995): 177–186. *Brady, E. ‘Imagination and the Aesthetic Appreciation of Nature’. ''The Journal of Aesthetics and Art Criticism'', Vol. 56, No. 2 (Spring 1998): 139–147. *Brett, R.L. ''The Third Earl of Shaftesbury''. London, 1951. ASIN: B0007IYKBU *Budd, M. ''The Aesthetic Appreciation of Nature''. Oxford, Oxford University Press, 2003. *Burke, Edmund. ''
A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful ''A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful'' is a 1757 treatise on aesthetics written by Edmund Burke. It was the first complete philosophical exposition for separating the beautiful and the sublime into th ...
''. London, 1958. *Clewis, Robert, ed.
The Sublime Reader
'. London: Bloomsbury Academic, 2019. * Clewis, Robert, ed. ''The Kantian Sublime and the Revelation of Freedom''. Cambridge: Cambridge University Press, 2009. *Collingwood, R.G. ''The Idea of Nature''. Oxford, 1945. *Cooper, Anthony Ashley, Third Earl of Shaftesbury. ''The Moralists: A Philosophical Rhapsody'', in ''
Characteristicks Anthony Ashley Cooper, 3rd Earl of Shaftesbury (26 February 1671 – 16 February 1713) was an English politician, philosopher, and writer. Early life He was born at Exeter House in London, the son of the future Anthony Ashley Cooper, 2nd Earl ...
'', Vol. II. Ed. John M. Robertson. London, 1900. *Crowther, P. ''How Pictures Complete Us; The Beautiful, the Sublime and the Divine''. Stanford University Press, 2016. *de Bolla, P. ''The Discourse of the Sublime''. Basil Blackwell, 1989. *Dennis, John. ''Miscellanies in Verse and Prose'', in ''Critical Works'', Vol. II. Ed. Edward Niles Hooker. Baltimore, 1939–1943. ASIN: B0007E9YR4 *Doran, Robert. ‘Literary History and the Sublime in Erich Auerbach’s Mimesis’. ''New Literary History'' 38.2 (2007): 353–369. *Doran, Robert. ''The Theory of the Sublime from Longinus to Kant''. Cambridge: Cambridge University Press, 2015. *Dessoir, Max. ''Aesthetics and theory of art. Ästhetik und allgemeine Kunstwissenschaft''. Translated by Stephen A. Emery. With a foreword by Thomas Munro. Detroit, Wayne State University Press, 1970. *Duffy, C. ''Shelley and the revolutionary sublime''. Cambridge, 2005. *Ferguson, F. ''Solitude and the Sublime: romanticism and the aesthetics of individuation''.
Routledge Routledge () is a British multinational publisher. It was founded in 1836 by George Routledge, and specialises in providing academic books, journals and online resources in the fields of the humanities, behavioural science, education, law ...
, 1992. *Fisher, P. ''Wonder, the rainbow and the aesthetics of rare experiences''. Harvard University Press, 1999. *Fudge, R. S. ‘Imagination and the Science-Based Aesthetic Appreciation of Unscenic Nature’. ''The Journal of Aesthetics and Art Criticism'', Vol. 59, No. 3 (Summer 2001): 275–285. *Gilbert-Rolfe, Jeremy. "Beauty and the Contemporary Sublime," Allworth Press, 1999. *Hipple, Walter John, Jr. ''The Beautiful, the Sublime, and the Picturesque in Eighteenth-Century British Aesthetic Theory''. Carbondale, IL, 1957. *Kant, Immanuel. Critique of Judgment. Trans. J.H. Bernard. Macmillan, 1951. *Kant, Immanuel. '' Observations on the Feeling of the Beautiful and Sublime''. Translated by John T. Goldthwaite. University of California Press, 2003. * Kaplama, Erman. ''Cosmological Aesthetics through the Kantian Sublime and Nietzschean Dionysian''. Lanham: UPA, Rowman & Littlefield, 2014. *Kirwan, J. (2005). ''Sublimity: The Non-Rational and the Irrational in the History of Aesthetics''. Routledge, 2005. *Lyotard, Jean-François. ''Lessons on the Analytic of the Sublime''. Trans. Elizabeth Rottenberg. Stanford University Press, 1994. *Monk, Samuel H. ''The Sublime: A Study of Critical Theories in XVIII-Century England''. Ann Arbor: University of Michigan Press, 1935/1960. * Nicolson, Marjorie Hope. ''Mountain Gloom and Mountain Glory''. Ithaca, 1959. *Navon, Mois. "Sublime Tekhelet"
The Writings of Mois Navon
*Nicolson, Marjorie Hope. "Sublime in External Nature". ''Dictionary of the History of Ideas''. New York, 1974. *Noel, J. ‘Space, Time and the Sublime in Hume’s Treatise’. ''British Journal of Aesthetics'', Vol. 34, No. 3, July 1994: 218–225. *Pillow, K. ''Sublime Understanding: Aesthetic Reflection in Kant and Hegel''. MIT Press, 2000. *Ryan, V. (2001). 'The physiological sublime: Burke's critique of reason'. ''Journal of the history of ideas'', vol. 62, no. 2 (2001): 265–279. *
George Santayana Jorge Agustín Nicolás Ruiz de Santayana y Borrás, known in English as George Santayana (; December 16, 1863 – September 26, 1952), was a Spanish and US-American philosopher, essayist, poet, and novelist. Born in Spain, Santayana was raised ...
. ''The Sense of Beauty. Being the Outlines of Aesthetic Theory''. New York, Modern Library, 1955. Pp. 230–240. *Saville, A. ‘Imagination and Aesthetic Value’. ''British Journal of Aesthetics'', Vol. 46, No. 3, July 2006: 248–258. *Shaw, P. ''The Sublime''. Routledge, 2006. *Shusterman, R. ‘Somaesthetics and Burke’s Sublime’. ''British Journal of Aesthetics'', Vol. 45, No. 4, October 2005: 323–341. * Sircello, Guy, ‘How is a Theory of the Sublime Possible?’ ''The Journal of Aesthetics and Art Criticism'', Vol. 51, No. 4 (Autumn 1993): 541–550. *
Schopenhauer Arthur Schopenhauer ( , ; 22 February 1788 – 21 September 1860) was a German philosopher. He is best known for his 1818 work '' The World as Will and Representation'' (expanded in 1844), which characterizes the phenomenal world as the pr ...
, Arthur. ''
The World as Will and Representation ''The World as Will and Representation'' (''WWR''; german: Die Welt als Wille und Vorstellung, ''WWV''), sometimes translated as ''The World as Will and Idea'', is the central work of the German philosopher Arthur Schopenhauer. The first editio ...
''. Volume I. New York: Dover Press. *Slocombe, Will. ''Nihilism and the Sublime Postmodern: The (Hi)Story of a Difficult Relationship''. New York: Routledge, 2006. *Stolnitz, Jerome. "On the Significance of Lord Shaftesbury in Modern Aesthetic Theory". ''Philosophical Quarterly'', 43(2):97–113, 1961. *Tsang, Lap Chuen. ''The Sublime : Groundwork towards a Theory''. University of Rochester Press, 1998. *Zuckert, R. ‘Awe or Envy? Herder contra Kant on the Sublime’. ''The Journal of Aesthetics and Art Criticism'', Vol. 61, No. 3 (Summer 2003): 217–232.


External links


Friedrich Schiller, On the Sublime

The Sublime
BBC Radio 4 discussion with Janet Todd, Annie Janowitz & Peter de Bolla (''In Our Time'', Feb. 12, 2004) {{DEFAULTSORT:Sublime (Philosophy) Aesthetics Aesthetic beauty Abstraction Concepts in aesthetics Concepts in ancient Greek aesthetics Concepts in ancient Greek metaphysics Concepts in ancient Greek philosophy of mind Concepts in metaphysics Concepts in the philosophy of mind Philosophy of culture Philosophy of literature Philosophy of mind Romanticism Victor Hugo