In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful concept in contemporary philosophy. In a reassessment of historical approaches, the first part of the book identifies the scope and value of the sublime in eighteenth-century philosophy, nineteenth-century philosophy and Romanticism, and early wilderness aesthetics. The second part examines the sublime's contemporary significance through its relationship to the arts; its (...) position with respect to other aesthetic categories involving mixed or negative emotions, such as tragedy; and its place in environmental aesthetics and ethics. Far from being an outmoded concept, Brady argues that the sublime is a distinctive aesthetic category which reveals an important, if sometimes challenging, aesthetic-moral relationship with the natural world. (shrink)

The Sublime in Schopenhauer's Philosophy transforms our understanding of Schopenhauer's aesthetics and anthropology. Bart Vandenabeele breaks new ground by providing what is probably the first monograph to be devoted exclusively to Schopenhauer's theory of the sublime. The book focuses on Schopenhauer's conception of the sublime and how it relates to the individual and its attitude towards life. The author explores in unusual depth Schopenhauer's relation to Kant, whose follower and critic he was, and shows how Schopenhauer's aesthetic (...) theory moves beyond Kant's in numerous meaningful ways. Drawing on recent insights in psychology and the philosophy of mind, Vandenabeele seeks ultimately to rework Schopenhauer's theory into a viable form so as to establish the sublime as a distinctive aesthetic category with a broader existential and metaphysical significance. (shrink)

The aesthetic tradition has identified as paradigmatically sublime such objects as imposing mountains and intense storms, as well as monumental art. But the tradition also acknowledges less paradigmatic cases, including sometimes mathematical structures or abstract concepts. In this paper, we argue that there is also a case for considering phenomenal consciousness—the experiential quality of subjective awareness—as a sublime phenomenon. One appreciates this, we argue, when one is struck by (fitting) awe upon contemplating (a) the perplexing existence of something (...) like phenomenal consciousness in an otherwise completely material universe and (b) the role of consciousness in injecting meaning and value in an otherwise brutally factual reality. (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)

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)

In this provocative and original work, Slavoj Zizek takes a look at the question of human agency in a postmodern world. From the sinking of the Titanic to Hitchcock's Rear Window, from the operas of Wagner to science fiction, from Alien to the Jewish Joke, the author's acute analyses explore the ideological fantasies of wholeness and exclusion which make up human society. Linking key psychoanalytical and philosophical concepts to social phenomena such as totalitarianism and racism, the book explores the political (...) significance of these fantasies of control. In so doing, The Sublime Object of Ideology represents a powerful contribution to a psychoanalytical theory of ideology, as well as offering persuasive interpretations of a number of contemporary cultural formations. -- Back cover. (shrink)

Recent contributions in Kant scholarship illustrate how Kant’s practical philosophy remains relevant for present global challenges. Climate change is among the most important of these, but commentators have largely addressed it, if at all, with Kant’s ethics and legal philosophy. Kant’s aesthetics remains undervalued here. This makes sense: outside Kant scholarship, environmental philosophers reject his aesthetics as unacceptably anthropocentric. Some environmental philosophers defend the value of alternative (non-Kantian) accounts of sublimity vis-à-vis climate change, while others explore the moral relevance of (...) Kantian sublimity for analogous global challenges, like nuclear hazard (Ferguson 1984). I argue that these developments miss something: with its ethical connections, Kantian sublimity is indeed relevant. (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)

The first English-language anthology to provide a compendium of primary source material on the sublime. The book takes a chronological approach, covering the earliest ancient traditions up through the early and late modern periods and into contemporary theory. It takes an inclusive, interdisciplinary approach to this key concept in aesthetics and criticism, representing voices and traditions that have often been overlooked. As such, it will be of use and interest across the humanities and allied disciplines.

The topic of the sublime is making a return to contemporary discourse on aesthetics and cognition. In Sublime Understanding, Kirk Pillow makes sublimity the center of an alternative conception of aesthetic response and interpretation. He draws an aesthetics of sublimity from Kant's Critique of Judgment, bolsters it with help from Hegel, and establishes its place in a broadened conception of human understanding. He argues that sublime reflection provides a model for an interpretive response to the uncanny Other (...) outside our conceptual grasp; it advances our sense-making pursuits but eschews unified, conceptual determination. Thus "sublime understanding" is the always partial, indeterminate grasping of contextual wholes through which we make sense of the uncanny particular in both art and the lived world. The book is divided into three parts. In the first two parts, Pillow presents insightful reinterpretations of Kant's and Hegel's aesthetics. In the third part he develops his own model of an aestheticized understanding, which illuminates contemporary discussions of metaphor and interpretation, while bridging Anglo-American and continental treatments of these issues. The presentation is a model of clear and well-crafted exposition, exemplifying the practice of aesthetically reflective sublime understanding that it articulates. (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)

A ideia de sublime é necessária à reflexão filosófica contemporânea?

From aesthetics to social anthropology and art, this essay is pretending to be an approach to some relevant works on the vision to a better man.

Le sentiment du sublime est une expérience de la nature qui nous fait prendre conscience de la place paradoxale que nous occupons dans le cosmos et provoque par ce biais un plaisir ambivalent. Selon la théorie classique, kantienne, cette expérience proviendrait d’une sorte de combat de catch mental, dont on perdrait les premiers rounds en laissant la nature déborder nos sens, mais que l’on finirait par remporter grâce à la puissance de notre raison et de notre liberté. On n’aurait (...) d’expérience de sublime, toujours selon cette théorie, que face à des objets naturels dignes d’être (mentalement) combattus, des choses immenses ou terriblement puissantes comme le ciel étoilé, les montagnes ou les ouragans. Je prétends dans cet article que la théorie classique dépend d’une conception de la nature que nous ne pouvons pas trouver crédible aujourd’hui (une conception, très sommairement, agonistique et anthropocentrée) et qui la discrédite. Corrélativement, elle se trompe quant à l’objet du sublime, qui peut être une chose relativement petite comme un arbre ou même, peut-être, une brindille oscillant dans le vent. Je propose une théorie alternative du sublime qui repose sur une forme de décentrement empathique dans la nature, fût-elle indifférente et sauvage, plutôt que sur un combat mental contre elle. (shrink)

Tracks the sublime art movement from Kant to the 21st century and onwards to a new future Stephen Zepke tracks the sublime art movement from its beginnings in Kant to its flowering in the late 20th and early 21st centuries. He shows that the idea of sublime art waxes and wanes in the work of Jean-Francois Lyotard, Gilles Deleuze and Felix Guattari, Jacques Derrida, Jacques Ranciere and the recent Speculative Realism movement. With it, a visionary politics of (...) art seeks to give it the most creative power possible: the power to overcome our conditions and embrace the unknown. (shrink)

Burke is an important exception to Nietzsche's claim that philosophical aesthetics ignores physiology and the role of practical interest. Grounded on the powerful interest of survival, Burke's theory of the sublime also offers a physiological explanation of our feelings of sublimity that explicitly defines certain conditions of our nerves as the ‘efficient cause’ of such feelings. While his general account of sublimity is widely appreciated, its somatic dimension has been dismissed as hopelessly misguided. In examining Burke's views in relation (...) to contemporary somaesthetics, cognitive psychology, and physiology, this paper shows that though Burke's somatic arguments can be criticized as overly simplistic and mechanistic, his recognition of the crucial bodily dimensions of aesthetic experience should be taken more seriously. In refining Burke's insight that bodily factors can help explain our aesthetic reactions, somaesthetics further urges that improved somatic understanding and performance can provide valuable means for enhancing our aesthetic response. (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 Element considers Kant's account of the sublime in the context of his predecessors both in the Anglophone and German rationalist traditions. Since Kant says with evident endorsement that 'we call sublime that which is absolutely great' and nothing in nature can in fact be absolutely great, Kant concludes that strictly speaking what is sublime can only be the human calling to perfect our rational capacity according to the standard of virtue that is thought through the moral (...) law. The Element takes account of the difference between respect and admiration as the two main varieties of sublime feeling, and concludes by considering the role of Stoicism in Kant's account of the sublime, particularly through the channel of Seneca. (shrink)

Kant says that there is a close affinity between the sublime and moral feelings of respect. This suggests a relatively unexplored way that aesthetic experience could be morally improving. We could come to respect persons by experiencing them as sublime. Unfortunately, this is not at all our ordinary experience of people, and it’s not clear how one would come to it. In this paper I argue that this possibility is realized in the portraits of Thomas Eakins. Through a (...) handful of specific techniques, Eakins suggests an incomparable psychological depth to the subjects of his portraits, a suggestion that causes the viewer to experience that subject as sublime in a way not unlike their experience of a vast ocean or endless abyss. -/- . (shrink)

Experience of the sublime is most often discussed as a facet of the aesthetic experience of nature. In this paper, I argue that religious liturgy can be a source of sublimity and that experiences of the liturgically sublime are analogous to aesthetic experiences of nature and natural sublimity. Experiences of the liturgically sublime are not religious experiences, since the aesthetic experience of liturgy is not dependent upon any particular belief, such as belief in a deity, does not (...) communicate specific information, and is fundamentally physical in its experience, since it is based upon sensory experiences of the physical environment. I conclude that, as aesthetic experiences of liturgy are similar in important ways to experiences of natural sublimity and can be fully appreciated by any attendant of a liturgy, so can anyone, regardless of belief set or religious background, experience and appreciate liturgical sublimity to the fullest degree. (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)

The sublime in classical aesthetics arrived at a famous formulation with Kant as a subjective quality more elevated than beauty, linked to commotion and respect followed by reaffirmation. However, a new interpretation of the Schopenhauerian sublime is necessary in its transforming appreciation of the importance of this feeling as a psychological state, which is not yet metaphysical as usually understood, when dealing with struggling situations without resolution. Here the focus will be on a variety of the sonorous (...) class='Hi'>sublime in contemporary music, which finds resonances with Schopenhauer’s sublime: Witold Lutoslawski’s Three Poems of Henri Michaux for mixed chorus and orchestra focuses on unpredictability and form-contrariness, “picturing” surrealist texts of uncertainty in Pensées, violence in Le Grand Combat, and resignation in Repos dans Malheur. (shrink)

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 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)

This article introduces a novel conceptualization of sublimity: the sublime in the pedestrian. This pedestrian form of sublimity is exemplified by the Biblical figure Abraham, the central character in Kierkegaard’s pseudonymous work “Fear and Trembling: Dialectical Lyric by Johannes de silentio”. It is grounded in the analysis of one of the foundational narratives of the three monotheistic religions: Abraham’s near-sacrifice of his son Isaac. The defining characteristic of this new, pedestrian form of sublimity is that it remains concealed behind (...) what I term a total incognito. It resembles the classical ‘elevated mode of sublimity’ as developed by Burke, Kant, and Schiller, in that it simultaneously evokes two contrasting emotions: repulsion and attraction. However, it differs in that Kierkegaard’s pedestrian mode of sublimity remains hidden from view and can only be revealed indirectly. This article explores the new, pedestrian mode of sublimity by examining the relationship between the incognito and the sublime in “Fear and Trembling”. It accomplishes this by engaging with three perspectives: (1) the sublime failure that emerges in the incognitos of an imaginary Abraham; (2) the ‘fear without being afraid’ invoked by God’s incognitos; (3) the total incognito of the pedestrian, which conceals Abraham’s sublimity. (shrink)

The Theories of MāraticPoetic PowerPower/Virtue (De/Te德) (Moluo shili shuo, 1907) represents Lu Xun’s[aut]Lu Xun (鲁迅) early concern with the Romantic poets. Written during the critical period of China crisis, it rounds out thematically “an intention to revolt and an aim to take action” against the foreign imperialist invasion, feudalist political cultureculture (wen hua 文化), and perverse conventions. Meanwhile, it promotes the necessity of democratic revolution, intellectual reform, liberation of individuality, and reconstruction of national identity, among others.

Immanuel Kant’s work on the sublimity of aesthetic experience lends itself to puzzlement, if not misclassification. Complicating matters, Kant distinguishes between two kinds of sublimity: respectively, the “mathematical” and “dynamical” sublime. More mystifying is that the sublime is ineffable, beyond the ken of human comprehension. These perplexities notwithstanding, Kant argues that sublime sentiment produces a feeling of supersensible comfort. Commentators identify this comfort emanating most strongly from the dynamical sublime. However, in this paper I draw from (...) the unity of reason thesis to offer a plausible account of how the mathematical sublime is equally capable of providing the same feeling of supersensible comfort. (shrink)

Mientras Spengler cree en un sistema cíclico que regula la historia de las culturas humanas y por lo tanto considera inevitable la destrucción de la civilización occidental, que dejará sus poderes (la técnica) a otras culturas que no los sabrán utilizar, Jünger, en cuanto a la Modernidad, ve la interrupción de la regularidad cíclica por la increíble aceleración de su tiempo, y por lo tanto considera posible una regeneración. Sin embargo, ambos, aunque expresen con fuerza el valor negativo de la (...) civilización actual, que encuentra su fiel expresión en la metrópolis, por su alejamiento de las raíces naturales, sienten el deber y tal vez el “privilegio” de ser parte de esta realidad para poder vivir heroicamente su destino. (shrink)

One cannot make a judgment without following any law. Nevertheless, or for this very reason, it is essential that all judgments must be made in the absence of their law. For, in order to follow the law in a proper sense, a judgment needs the absence of law as its own constitutive moment, that is, the freedom which makes this act possible at the very moment that it relates itself to the law in the first place. Faced with this absence, (...) therefore, one must make a judgment by inventing at the same time, as it were, (the relation to) the law which the same judgment is to follow. In “Force of Law,” Derrida (re)opened the ethico-political thinking of deconstruction by taking his departure from this aporetic structure of judgment. The aim of this essay is to recast the question of this aporetic structure of judgment by inquiring into the problematic of Kant’s Critique of Judgment, with which Derrida has not been suffi ciently concerned, and to carve out the aesthetico-political problematic of deconstruction. (shrink)

Think of the sublime: images come to mind first. Images of mountains, oceans, deserts, and other wild natural sites. Images of pyramids, cathedrals, skyscrapers, and other colossal cultural artifacts. Most of these mental images are probably still and silent, very much like photos. They might also portray dynamic situations, like big waves breaking on a rocky shore, or high trees moved by a thunderous storm, or the wind howling across the ruins of an ancient temple. Yet these scenes are (...) likely to be imagined as sublime independently of their inner temporality, perhaps as animated still pictures like GIFs or “live” smartphone photos.But maybe something else comes to your mind. If you are a classical music lover, you... (shrink)

Writing On the Sublime and Beautiful, Edmund Burke tells us the ideas most capable of making an impression are those related to self-preservation and society. Such ideas are bound to our passions. Passions belonging to self-preservation turn on pain or danger.1 Those belonging to society do as well, although in this work, Burke dwells exclusively on pain. Because he tells us the king of terrors is death, we might infer pain is inferior to danger, the latter more formidable. We (...) experience delight in both when they are remote and do not affect us. But this delight, or indeed pleasure of any kind, is less powerful in terms of passion. Possibly for this reason Burke declines to qualify delight or pleasure as a source... (shrink)

Sri Bhakti Sandarbha: The Sublime Path to Attain Perfection Translation & Commentary by Satyanarayana Dasa Bhakti Sandarbha, which is the 5th volume in the anthology,deals with abhidheya, the prescribed method to actualize our relation with Bhagavān.After in Kṛṣṇa Sandarbha,ŚrīJīva Gosvāmī has established Śrī Kṛṣṇa as the original complete form of Bhagavān and the source of all other avatāras based on the Bhāgavata Purāṇa, he now discusses the practical aspect of bhakti, and thus specifying its nature and practice. He demonstrates (...) that although there are descriptions of karma, yoga, and jñāna in Bhāgavata Purāṇa, it is ultimately bhakti alone that is identified as the true and complete method. Bhakti has never been established as the abhidheya so systematically and emphatically as in this book. Previously, bhaktiwas generally considered as one of the spiritual processes along with karma-yoga, jñāna-yoga, and aṣṭāṅga-yoga. Moreover, it was usually taken as a precursor to jñāna, which ultimately leads to liberation. (shrink)

Explores the sublime as an unmasterable excess of beauty that marks the limit of representation, in language that requires a firm grasp on the concepts and terminology of modern (that is, pre-postmodern) philosophy.

Nature’s Sublime: An Essay in Aesthetic Naturalism returns to Corrington’s roots in aesthetics as informed by two major influences: German romanticism and idealism, and “psychosemiotics”. The sublime, as it relates to both religion and aesthetics, is the book’s key motif. Those interested in American philosophy and theology, Continental philosophy of religion, German idealism, and romanticist aesthetics will appreciate this book because it takes on a very unique approach to thinking about religion’s relationship to art. Corrington’s introduction outlines four (...) basic dimensions of reality that are at stake while approaching religion through.. (shrink)

Cruel Theory | Sublime Practice consists of three parts. Each part addresses both theoretical and practical dimensions of Buddhism. Topics include the formation of an autonomous subject in the face of Buddhism’s concealment of its ideological force; the possibility of a practice that thus serves as a theory or science of ideology; the reconstitution of practice as an organon of authoritative structures, including controlling social-conceptual representations; and the perception of Buddhism as the subject of a historical process.