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  1. Uygar Abaci (2008). Kant's Justified Dismissal of Artistic Sublimity. Journal of Aesthetics and Art Criticism 66 (3):237 - 251.
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  2. Henry E. Allison (2001). Kant's Theory of Taste: A Reading of the Critique of Aesthetic Judgment. Cambridge University Press.
    This book constitutes one of the most important contributions to recent Kant scholarship. In it, one of the pre-eminent interpreters of Kant, Henry Allison, offers a comprehensive, systematic, and philosophically astute account of all aspects of Kant's views on aesthetics. The first part of the book analyses Kant's conception of reflective judgment and its connections with both empirical knowledge and judgments of taste. The second and third parts treat two questions that Allison insists must be kept distinct: the normativity of (...)
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  3. Martha de Almeida (2009). Por uma metafí­sica do sublime. Princípios 16 (26):229-255.
    O sublime vem sendo analisado desde a antiguidade com uma marcante relaçáo com a tragédia, seja como gênero literário, seja por meio da Poética , de Aristóteles que nos traduz pela catarse o sentimento do sublime. Na modernidade, novos nomes foram chegando para colaborar com esta teoria: o próprio Hume, em seu ensaio Da tragédia , mostrou-se impressionado com a capacidade que esta forma de arte tem de produzir efeitos táo intensos no espectador. Porém, quem mais fortaleceu a análise do (...)
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  4. Karl Ameriks (1994). Review: Guyer, Kant and the Experience of Freedom: Essays on Aesthetics and Morality. [REVIEW] Ethics 105 (1):207-.
  5. Meg Armstrong (1996). "The Effects of Blackness": Gender, Race, and the Sublime in Aesthetic Theories of Burke and Kant. Journal of Aesthetics and Art Criticism 54 (3):213-236.
  6. Tugba Ayas (2013). O Sublime E o Cosmopolitismo de Kant No Século XXI. Filosofia Unisinos 14 (2).
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  7. Jair Barboza (2002). Kants Begriff des Erhabenen und seine Rolle in Schopenhauers Ästhetik. Schopenhauer Jahrbuch 83:135-149.
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  8. Paul G. Beidler (1995). The Postmodern Sublime: Kant and Tony Smith's Anecdote of the Cube. Journal of Aesthetics and Art Criticism 53 (2):177-186.
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  9. Ruben Berrios (2003). Sublime Understanding: Aesthetic Reflection in Kant and Hegel. British Journal of Aesthetics 43 (4):422-424.
  10. Alessandro Bertinetto (2006). Negative Darstellung. Das Erhabene Bei Kant Und Hegel. Internationales Jahrbuch des Deutschen Idealismus/International Yearbook of German Idealism 4:124-151.
  11. G. Bohme (1998). Lyotard's Reading of the Sublime. Kant-Studien 89 (2):205-218.
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  12. Gernot Böhme (1998). Lyotards Lektüre des Erhabenen. Kant-Studien 2 (2):198-214.
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  13. Emily Brady (2012). Reassessing Aesthetic Appreciation of Nature in the Kantian Sublime. Journal of Aesthetic Education 46 (1):91-109.
    The sublime has been a relatively neglected topic in recent work in philosophical aesthetics, with existing discussions confined mainly to problems in Kant's theory.1 Given the revival of interest in his aesthetic theory and the influence of the Kantian sublime compared to other eighteenth-century accounts, this focus is not surprising. Kant's emphasis on nature also sets his theory apart from other eighteenth-century theories that, although making nature central, also give explicit attention to moral character and mathematical ideas and generally devote (...)
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  14. Eva Brann (2002). Review: Japaridze, The Kantian Subject: Sensus Communis, Mimesis, Work of Mourning. [REVIEW] Review of Metaphysics 56 (2):431-433.
  15. O. Briese (1996). On the Ethics of the Finite. The Referential Nature of the Sublime in Kant. Kant-Studien 87 (3):325-347.
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  16. Olaf Briese (1996). Ethik der Endlichkeit. Zum Verweisungscharakter des Erhabenen Bei Kant. Kant-Studien 87 (3):325-347.
    This article investigates Kant's theory of the "sublime". It points out, that Kant's theory, which describes the intensive aesthetic feelings called forth by outstanding natural or artificial phenomena, like earthquakes, tempests or pyramids, is also extended to include a theory of death. Death, the ultimate and outstanding border of life, can also inspire this feeling of the sublime. But Kant, who prefers theories of immortality to theories of final death, manages to avoid this conclusion in his tree "critics". It was (...)
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  17. Malcolm Budd (1998). Delight in the Natural World: Kant on the Aesthetic Appreciation of Nature Part III: The Sublime in Nature. British Journal of Aesthetics 38 (3):233-250.
  18. Hubertus Busche (1991). Die spielerische Entgegnung der Idee auf die ernste Natur. Versuch über Kants Analytik des Erhabenen. Zeitschrift für Philosophische Forschung 45 (4):511 - 529.
    In contrast with Kant's "Theory of Beauty" his "Analytics of the Sublime" has till now been paid meager systematic attention. This essay on the architectonics of the sublime proves three theses. (1) Beauty and sublime are not experiences of two different object classes, but of two contrary moods of mind. (2) Kant's exposition of the "mathematical-sublime" is based on not immediately evident premises. But these difficulties concerning the "comprehensio aesthetica" can be explained retrospectively from the "dynamical-sublime". For only in view (...)
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  19. Andrew Chignell & Matthew C. Halteman (2012). Religion and the Sublime. In Timothy M. Costelloe (ed.), The Sublime: From Antiquity to the Present. Cambridge.
    An effort to lay out a kind of taxomony of conceptual relations between the domains of the sublime and the religious. Warning: includes two somewhat graphic images. -/- .
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  20. Robert R. Clewis (2010). A Case for Kantian Artistic Sublimity: A Response to Abaci. Journal of Aesthetics and Art Criticism 68 (2):167-170.
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  21. Robert R. Clewis (2009). The Kantian Sublime and the Revelation of Freedom. Cambridge University Press.
    The Observations and the Remarks -- The Observations -- Forms of the sublime, and the grotesque -- Virtue -- The Remarks : history and background -- Four senses of freedom -- Enthusiasm : the passion of the sublime -- The judgment of the sublime -- Preliminary issues -- The mathematical and the dynamical sublime -- A third kind : the moral sublime -- Dependent and free sublimity -- The monstrous and the colossal -- Sublimity elicited by art -- Moral feeling (...)
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  22. Robert S. Corrington (2013). Nature's Sublime: An Essay in Aesthetic Naturalism. Lexington Books.
    Nature’s Sublime provides a radical new vision of infinite nature and its deepest aesthetic dimensions as they are encountered by finite human sign users. Rather than looking to religion for healing and salvation, Nature’s Sublime argues that the arts provide a deeper relationship to the vast depths of nature.
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  23. Clayton Crockett (2001). A Theology of the Sublime. Routledge.
    Crockett develops a constructive radical theology from the philosophy of Kant. Reading The Critique of Judgment back into The Critique of Pure Reason, Crockett draws upon the insights of such continental philosophers as Heidegger, Derrida, Lyotard and Deleuze. This book shows how existential notions of self, time and imagination are interrelated in Kantian thinking, and demonstrates their importance for theology. An original theology of the sublime emerges as a connection is made between the Kantian sublime of the Third Critique and (...)
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  24. Stuart Dalton (1999). Bodies of Experience and Bodies of Thought: Freud and Kant on Excessively Intense Ideas. Angelaki 4 (3):93 – 101.
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  25. Stuart Dalton (1999). Obligation to the Other in Levinas and the Experience of the Sublime in Kant. Kantian Review 3 (1):81-98.
    In an interview with Philippe Nemo, Emmanuel Levinas makes a very revealing comment about what he was trying to accomplish in his ethical philosophy. In response to a question about the ‘starting-point’ of his ethics, Levinas protests: ‘My task does not consist in constructing ethics; I only try to find its meaning … One can without doubt construct an ethics in function of what I have just said [in describing his philosophy up to this point in the interview], but this (...)
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  26. Martha de Almeida (2010). Por uma metafí­sica do sublime. Princípios 16 (26):229-255.
    O sublime vem sendo analisado desde a antiguidade com uma marcante relaçáo com a tragédia, seja como gênero literário, seja por meio da Poética , de Aristóteles que nos traduz pela catarse o sentimento do sublime. Na modernidade, novos nomes foram chegando para colaborar com esta teoria: o próprio Hume, em seu ensaio Da tragédia , mostrou-se impressionado com a capacidade que esta forma de arte tem de produzir efeitos táo intensos no espectador. Porém, quem mais fortaleceu a análise do (...)
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  27. Katerina Deligiorgi (2014). The Pleasures of Contra‐Purposiveness: Kant, the Sublime, and Being Human. Journal of Aesthetics and Art Criticism 72 (1):25-35.
    Serious doubts have been raised about the coherence of theories of the sublime and the usefulness of the concept. By contrast, the sublime is increasingly studied as a key function in Kant's moral psychology and in his ethics. This article combines methodological conservatism, approaching the topic from within Kant's discussion of aesthetic judgment, with reconstruction of a conception of human agency that is tenable on Kantian grounds. I argue that a coherent theory of the sublime is possible and useful, and (...)
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  28. Daniel Dumouchel (1993). Esthétique et moralité selon Kant. Le cas du sublime. Dialogue 32 (02):329-.
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  29. C. E. Emmer (2008). Crowther and the Kantian Sublime in Art. In Valerio Rohden, Ricardo R. Terra & Guido A. de Almeida (eds.), Recht und Frieden in der Philosophie Kants: Akten des X. Internationalen Kant-Kongresses [Right and Peace in Kant's Philosophy: Proceedings of the 10th International Kant Congress] 5 vols. Walter de Gruyter.
    Paul Crowther, in his book, The Kantian Sublime (1989), works to reconstruct Kant's aesthetics in order to make its continued relevance to contemporary aesthetic concerns more visible. The present article remains within the area of Crowther's "cognitive" sublime, to show that there is much space for expanding upon Kantian varieties of the sublime, particularly in art.
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  30. C. E. Emmer (2001). The Senses of the Sublime: Possibilities for a Non-Ocular Sublime in Kant's Critique of Judgment. In Volker Gerhardt, Rolf Horstmann & Ralph Schumacher (eds.), Kant und die Berliner Aufklärung: Akten des IX. Internationalen Kant-Kongresses, Vol. 3. Walter de Gruyter.
    It might at first seem that the senses (the five traditionally recognized conduits of outer sense) would have very little to contribute to an investigation of Kant's aesthetics. Is not Kant's aesthetic theory based on a relation of the higher cognitive faculties? Much however can be revealed by asking to what degree sight is essential to aesthetic judgment (of beauty and the sublime) as Kant describes it in the 'Critique of Judgment.' Here the sublime receives particular attention.
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  31. Moutsopoulos Evanghelos (2013). Buchbesprechungen. Kant-Studien 104 (1):252-284.
  32. H. Feger (1996). Anti-Melancholic Criticism-Kant Theory of the Sublime and the Constricted Use of Reason Leading to Inevitable Success. Kant-Studien 87 (1):42-68.
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  33. Hans Feger (1996). Antimelancholische Kritik. Kants Theorie des Erhabenen Und Die Verengung des Vernunftgebrauchs Zum Unausbleiblichen Erfolg. Kant-Studien 87 (1):42-68.
    "Limitation of the use of reason for sure success" is Kant's formula for a critical use of reason by means of which reason shall be able to raise itself above the decay of metaphysical systems. But in order to gain autonomy, such reason must suppress impotence and discord. Kant applied this antimelancholic aspect of his critical turn to his aesthetic theory of the sublime. Due to the pure intellectual feeling of the sublime possessed by anyone whose "feeling strikes the melancholic" (...)
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  34. Serena Feloj (2012). Il Sublime Nel Pensiero di Kant. Morcelliana.
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  35. Fausto Fraisopi (2005). Adamo Sulla Sponda Del Rubicone: Analogia E Dimensione Speculativa in Kant. Armando.
  36. Theodore A. Gracyk (1986). Sublimity, Ugliness, and Formlessness in Kant's Aesthetic Theory. Journal of Aesthetics and Art Criticism 45 (1):49-56.
  37. Paul Guyer, 18th Century German Aesthetics. Stanford Encyclopedia of Philosophy.
  38. Paul Guyer (1995). Beauty, Sublimity, and Expression: Reply to Wicks and Cantrick. Journal of Aesthetics and Art Criticism 53 (2):194-195.
  39. Paul Guyer (1993). Kant and the Experience of Freedom: Essays on Aesthetics and Morality. Cambridge University Press.
    This collection of essays by one of the preeminent Kant scholars of our time transforms our understanding of both Kant's aesthetics and his ethics. Guyer shows that at the very core of Kant's aesthetic theory, disinterestedness of taste becomes an experience of freedom and thus an essential accompaniment to morality itself. At the same time he reveals how Kant's moral theory includes a distinctive place for the cultivation of both general moral sentiments and particular attachments on the basis of the (...)
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  40. Paul Guyer (1982). Kant's Distinction Between the Sublime and the Beautiful. Review of Metaphysics 35 (4):753 - 783.
  41. Werner Herzog & Moira Weigel (2010). On the Absolute, the Sublime, and Ecstatic Truth. Arion 17 (3):1-12.
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  42. Yi-hui Huang (2013). The Digital Sublime: Lessons From Kelli Connell's Double Life. Journal of Aesthetic Education 46 (4):70-79.
    The concept of the “sublime” has been discussed by a few philosophers. According to German philosopher Immanuel Kant (1724–1804), the sublime refers to something “absolutely great,”1 such as the vast Sahara Desert or an earthquake, that surpasses one’s ability to comprehend with one’s reason. The sublime brings a mixture of anxiety and pleasure to those experiencing it: anxiety from the conflict between reason and imagination, and pleasure from the awareness of the supremacy of human reason. While Kant focuses on sublime (...)
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  43. Tom Huhn (1997). A Lack of Feeling in Kant: Response to Patricia M. Matthews. Journal of Aesthetics and Art Criticism 55 (1):57-58.
  44. Wb Hund (1994). Review: Crowther, The Experience of the Sublime. [REVIEW] Kant-Studien 85 (3):337-340.
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  45. William B. Hund (1983). The Sublime and God in Kant's Critique of Judgement. New Scholasticism 57 (1):42-70.
  46. A. Hurst (1996). The Sublime and Human Existence. South African Journal of Philosophy 15 (4):144-148.
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  47. Patrick Hutchings (1999). The Sublimes and Natural Theology-Kant as a Criticalvisionary? Lyotard as the Discoverer of a New Sublime? And That Sublime Both Leibnizian and Crypto-Thomist? Sophia 38 (2):15-35.
  48. Jesús Ilundáin-Agurruza (2007). Kant Goes Skydiving : Understanding the Extreme by Way of the Sublime. In M. J. McNamee (ed.), Philosophy, Risk, and Adventure Sports. London ;Routledge.
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  49. Immanuel Kant (2011). Immanuel Kant: Observations on the Feeling of the Beautiful and Sublime and Other Writings. Cambridge University Press.
    This volume collects Kant's most important ethical and anthropological writings from the 1760s, before he developed his critical philosophy. The materials presented here range from the Observations, one of Kant's most elegantly written and immediately popular texts, to the accompanying Remarks which Kant wrote in his personal copy of the Observations and which are translated here in their entirety for the first time. This edition also includes little-known essays as well as personal notes and fragments that reveal the emergence of (...)
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  50. Immanuel Kant (2007). Observations on the Feeling of the Beautiful and Sublime (1764). In Journal of Aesthetics and Art Criticism. Cambridge University Press. 109-110.
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