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  1. Arrest: The Politics and Transcendence of Aesthetic Arrest Qua Protest.Ekin Erkan - 2020 - AEQAI.
    Recently, given the fomenting protests following the murders of George Floyd, Breonna Taylor and Ahmaud Arbery (amongst countless others), much discussion has erupted amongst contemporary artist-activists about the proper place for art and the aestheticization of politics. This is, of course, by no means a novel conversation. Historically, the aestheticization of politics has been disparaged perhaps most vocally by those such as Adorno and Horkheimer, but this critique has its most well-known roots in Plato. Plato’s critique is levelled at the (...)
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  2. Kantian Sublimity and Supersensible Comfort: A Case for the Mathematical Sublime.José Luis Fernández - 2020 - Journal of Comparative Literature and Aesthetics 43 (2):24-34.
    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 (...)
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  3. Striving: Feeling the Sublime.Stelios Gadris - 2020 - Con-Textos Kantianos 1 (12):358-380.
    In what follows, I will try to show how the sublime reveals a fundamental aspect of the subject as a human being: a striving to comprehend the absolute. Although at first this striving appears to lead to a futile pursuit – we cannot represent the absolute – we ultimately succeed in presenting it, thus re-affirming the fundamental role of intuition for the human being: the need to make our notions, concepts and ideas tangible. The sublime thus appears to be in (...)
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  4. Exploring the Deduction of the Category of Totality From Within the Analytic of the Sublime.Levi Haeck - 2020 - Con-Textos Kantianos 1 (12):381-401.
    I defend an interpretation of the first Critique’s category of totality based on Kant’s analysis of totality in the third Critique’s Analytic of the mathematical sublime. I show, firstly, that in the latter Kant delineates the category of totality — however general it may be — in relation to the essentially singular standpoint of the subject. Despite the fact that sublime and categorial totality have a significantly different scope and function, they do share such a singular baseline. Secondly, I argue (...)
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  5. Kant’s Mathematical Sublime: The Absolutely Great in Aesthetic Estimation.Weijia Wang - 2020 - Kantian Review 25 (3):465-485.
    According to Kant’s Critique of the Power of Judgement, in the end all estimation of magnitude is sensible, or ‘aesthetic’, and the absolutely great in aesthetic estimation is called ‘the mathematical sublime’. This article identifies the relevant sensible element with an inner sensation of a temporal tension: in aesthetic comprehension, the imagination encounters an inevitable tension between the successive reproduction of a magnitude’s individual parts and the simultaneous unification of these parts. The sensation of this tension varies in degree and (...)
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  6. Kantian Beauty, Fractals, and Universal Community.C. E. Emmer - 2019 - Dialogue and Universalism 29 (2):65-80.
    Benoit B. Mandelbrot, when discussing the global appeal of fractal patterns and designs, draws upon examples from across numerous world cultures. What may be missed in Mandelbrot's presentation is Immanuel Kant’s precedence in recognizing this sort of widespread beauty in art and nature, fractals avant la lettre. More importantly, the idea of the fractal may itself assist the aesthetic attitude which Kantian beauty requires. In addition, from a Kantian perspective, fractal patterns may offer a source for a sense of community (...)
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  7. The Necessity of Feeling in Unamuno and Kant: For the Tragic as for the Beautiful and Sublime.José Luis Fernández - 2019 - In Anthony Malagon & Abi Doukhan (eds.), The Religious Existentialists and the Redemption of Feeling. Lanham, MD 20706, USA: Lexington Books. pp. 103-115.
    Miguel de Unamuno’s theory of tragic sentiment is central to understanding his unique contributions to religious existential thought, which centers on the production of perhaps the most unavoidable and distinctive kind of human feeling. His theory is rightly attributed with being influenced by the gestational thought of, inter alios, Schopenhauer, Kierkegaard, and Nietzsche, but within these pages I should like to suggest a peculiar kinship between seemingly strange bedfellows, namely, between Unamuno and Immanuel Kant. Although the relationship between Unamuno and (...)
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  8. Can There Be a Finite Interpretation of the Kantian Sublime?Sacha Golob - 2019 - Kant Yearbook 11 (1):17-39.
    Kant’s account of the sublime makes frequent appeals to infinity, appeals which have been extensively criticised by commentators such as Budd and Crowther. This paper examines the costs and benefits of reconstructing the account in finitist terms. On the one hand, drawing on a detailed comparison of the first and third Critiques, I argue that the underlying logic of Kant’s position is essentially finitist. I defend the approach against longstanding objections, as well as addressing recent infinitist work by Moore and (...)
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  9. Kant’s Physical Geography and the Critical Philosophy.Robert R. Clewis - 2018 - Epoché: A Journal for the History of Philosophy.
    Kant’s geographical theory, which was informed by contemporary travel reports, diaries, and journals, developed before his so-called “critical turn.” There are several reasons to study Kant’s lectures and material on geography. The geography provided Kant with terms, concepts, and metaphors which he employed in order to present or elucidate the critical philosophy. Some of the germs of what would become Kant’s critical philosophy can already be detected in the geography course. Finally, Kant’s geography is also one source of some of (...)
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  10. The Sublime.Melissa McBay Merritt - 2018 - New York: Cambridge University Press.
    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 (...)
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  11. Kant’s Deduction of the Sublime.Thomas Moore - 2018 - Kantian Review 23 (3):349-372.
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  12. Sublimity and Joy: Kant on the Aesthetic Constitution of Virtue.Melissa Merritt - 2017 - In Matthew Altman (ed.), The Palgrave Kant Handbook. London: Palgrave Macmillan. pp. 447-467.
    This chapter argues that Kant’s aesthetic theory of the sublime has particular relevance for his ethics of virtue. Kant contends that our readiness to revel in natural sublimity depends upon a background commitment to moral ends. Further lessons about the emotional register of the sublime allow us to understand how Kant can plausibly contend that the temperament of virtue is both sublime and joyous at the same time.
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  13. What's the Big Idea? On Emily Brady's Sublime. Clewis - 2016 - Journal of Aesthetic Education 50 (2):104-118.
    “The sublime is a massive concept,” Emily Brady states in her book’s first sentence. Her lucid study of the sublime should interest scholars from a wide range of disciplines, from environmental philosophy and aesthetics to the history of philosophy, art history, and literary criticism. Although its title refers to modern philosophy, the book examines not only the period typically classified in philosophy as “modern,” but also romanticism and contemporary aesthetics. Brady aims “to reassess, and to some extent reclaim, the meaning (...)
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  14. Finite Agents, Sublime Feelings: Response to Hanauer.Katerina Deligiorgi - 2016 - Journal of Aesthetics and Art Criticism 74 (2):199-202.
    Tom Hanauer's thoughtful discussion of my article “The Pleasures of Contra-purposiveness: Kant, the Sublime, and Being Human” puts pressure on two important issues concerning the affective phenomenology of the sublime. My aim in that article was to present an analysis of the sublime that does not suffer from the problems identified by Jane Forsey in “Is a Theory of the Sublime Possible?”. I argued that Kant's notion of reflective judgment can help with this task, because it allows us to capture (...)
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  15. Beautiful and Sublime: The Aesthetics of Running in a Commodified World.Tim Gorichanaz - 2016 - Journal of the Philosophy of Sport 43 (3):365-379.
    In the United States, running as a leisure activity continues to grow in popularity. Healthism can explain some of this popularity, but it does not explain ultradistance running. Motivations for running can be seen through the framework of the Kantian beautiful and the sublime. Beauty arises through extrinsic motivation and relates to an economy of form, while the sublime arises through intrinsic motivation and relates to confronting the challenge of infinity. The commercial, casual, and competitive aspects of distance running correspond (...)
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  16. Kantian and Nietzschean Aesthetics of Human Nature: A Comparison Between the Beautiful/Sublime and Apollonian/Dionysian Dualities.Erman Kaplama - 2016 - Cosmos and History 12 (1):166-217.
    Both for Kant and for Nietzsche, aesthetics must not be considered as a systematic science based merely on logical premises but rather as a set of intuitively attained artistic ideas that constitute or reconstitute the sensible perceptions and supersensible representations into a new whole. Kantian and Nietzschean aesthetics are both aiming to see beyond the forms of objects to provide explanations for the nobility and sublimity of human art and life. We can safely say that Kant and Nietzsche used the (...)
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  17. The Cosmological Aesthetic Worldview in Van Gogh’s Late Landscape Paintings.Erman Kaplama - 2016 - Cosmos and History 12 (1):218-237.
    Some artworks are called sublime because of their capacity to move human imagination in a different way than the experience of beauty. The following discussion explores how Van Gogh’s The Starry Night along with some of his other late landscape paintings accomplish this peculiar movement of imagination thus qualifying as sublime artworks. These artworks constitute examples of the higher aesthetic principles and must be judged according to the cosmological-aesthetic criteria for they manage to generate a transition between ethos and phusis (...)
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  18. Kant's Theory of the Imagination.Samantha Matherne - 2016 - In Amy Kind (ed.), The Routledge Handbook of the Philosophy of Imagination. London: Routledge. pp. 55-68.
  19. Hegel and Semiotics: Beyond the End of Art.William D. Melaney - 2016 - In K. Bankov (ed.), New Semiotics: Between Tradition and Innovation Proceedings of the Twelfth World Congress of Semiotics. New Bulgarian University. pp. 10 pages.
    This paper argues that Hegel attempts to appropriate the irreversible aspects of Romantic aesthetics in four ways: (i) Hegel radicalizes Kantian aesthetics on the basis of a basically textual approach to sublime experience that opens up the question of community as a philosophical one; (ii) without demoting classical conceptions of art, Hegel privileges Romantic conceptions that demonstrate the ascendancy of sign over symbol in a spiraling chain; (iii) Hegel laments the fate of art in the triumph of Romantic subjectivism but (...)
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  20. “The Place of the Sublime in Kant’s Project”.Robert Clewis - 2015 - Studi Kantiani 28:149-68.
    I emphasize the harmony between the sublime and the underlying concept of the purposiveness of nature, i.e. that the sublime is purposive through its initial contrapurposiveness. One favorable outcome of this reading is that it locates further unity in the Critique of Judgment, e.g. it helps make sense of why, besides historical reasons, Kant may have turned to the sublime in the first place in the “Critique of the Aesthetic Power of Judgment” (Part One of the CJ). I question some (...)
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  21. The Theory of the Sublime From Longinus to Kant.Robert Doran - 2015 - Cambridge University Press.
    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 - (...)
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  22. Robert Doran, The Theory of the Sublime: From Longinus to Kant. Reviewed By. [REVIEW]Whitley Kaufman - 2015 - Philosophy in Review 35 (6):294-295.
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  23. The Sublime, Ugliness and Contemporary Art: A Kantian Perspective.Mojca Kuplen - 2015 - Con-Textos Kantianos 1:114-141.
    The aim of this paper is twofold. First, to explain the distinction between Kant’s notions of the sublime and ugliness, and to answer an important question that has been left unnoticed in contemporary studies, namely why it is the case that even though both sublime and ugliness are contrapurposive for the power of judgment, occasioning the feeling of displeasure, yet that after all we should feel pleasure in the former, while not in the latter. Second, to apply my interpretation of (...)
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  24. Kant’s Mathematical Sublime and the Role of the Infinite: Reply to Crowther.Simon D. Smith - 2015 - Kantian Review 20 (1):99-120.
    This paper offers an analysis of Kant’s account of the mathematical sublime with reference to his claim that ‘Nature is thus sublime in those of its appearances the intuition of which brings with them the idea of its infinity’. In undertaking this analysis I challenge Paul Crowther’s interpretation of this species of aesthetic experience, and I reject his interpretation as not being reflective of Kant’s actual position. I go on to show that the experience of the mathematical sublime is necessarily (...)
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  25. Lucrezio Interpreta Epicuro: Kant E Il Piacere, Il Sublime, la Natura.Marco Beccalli - 2014 - Itinera 8.
    The dissertation aims at uncovering the following topics: ethics, nature and sublime. In particular, it focuses on the above topics in relation to the theories of Epicurus and Immanuel Kant. The analysis takes into account the following scripts: “De Rerum Natura”, “Critica del Giudizio”, “Metafisica dei Costumi”, “Osservazioni sul sentimento del bello e del sublime”. They are evaluated to drouw the similarities and the differences between the two philophical perspectives.
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  26. Susan Meld Shell and Richard Velkley , Kant’s Observations and Remarks: A Critical Guide . Reviewed By.Michael Deckard - 2014 - Philosophy in Review 34 (5):268-271.
  27. The Pleasures of Contra‐Purposiveness: Kant, the Sublime, and Being Human.Katerina Deligiorgi - 2014 - 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. O Sublime E o Cosmopolitismo de Kant No Século XXI.Tugba Ayas - 2013 - Filosofia Unisinos 14 (2).
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  29. Replies to Paul Guyer and Melissa Zinkin.Robert R. Clewis - 2013 - Critique.
  30. Nature's Sublime: An Essay in Aesthetic Naturalism.Robert S. Corrington - 2013 - 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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  31. Cosmological Aesthetics Through the Kantian Sublime and Nietzschean Dionysian.Erman Kaplama - 2013 - UPA, Rowman & Littlefield.
    This book is founded on a close reading of Kant’s Opus Postumum in order both to explore the essential motivation that drove Kant to write a last comprehensive magnum opus and, by doing so, to show the essential link between his aesthetics and the idea of Übergang, the title of this last work. For this work contains not only his dynamical theory of matter defining motion as preliminary to the notions of space and time, and the advanced version of his (...)
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  32. Susan Meld Shell and Richard Velkley , Kant's Observations and Remarks: A Critical GuideCambridge: Cambridge University Press, 2012 Pp. Xv + 286 ISBN 978-0-521-76942-6 , £55.00. [REVIEW]Brian Watkins - 2013 - Kantian Review 18 (3):487-491.
  33. An Unfamiliar and Positive Law: On Kant and Schiller.Reed Winegar - 2013 - Archiv für Geschichte der Philosophie 95 (3):275-297.
    A familiar post-Kantian criticism contends that Kant enslaves sensibility under the yoke of practical reason. Friedrich Schiller advanced a version of this criticism to which Kant publicly responded. Recent commentators have emphasized the role that Kant’s reply assigns to the pleasure that accompanies successful moral action. In contrast, I argue that Kant’s reply relies primarily on the sublime feeling that arises when we merely contemplate the moral law. In fact, the pleasures emphasized by other recent commentators depend on this sublime (...)
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  34. Reassessing Aesthetic Appreciation of Nature in the Kantian Sublime. Brady - 2012 - 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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  35. Religion and the Sublime.Andrew Chignell & Matthew C. Halteman - 2012 - In Timothy M. Costelloe (ed.), The Sublime: From Antiquity to the Present. Cambridge: Cambridge University Press.
    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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  36. Il Sublime Nel Pensiero di Kant.Serena Feloj - 2012 - Morcelliana.
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  37. The Digital Sublime: Lessons From Kelli Connell's Double Life. Huang - 2012 - 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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  38. Životaschopnosť Jedného Prístupu. Poznámky Ku Kantovskej Línii Interpretácie Kategórie Vznešeného.Adrián Kvokačka - 2012 - Espes 1 (1):17-23.
    This paper pursues transformation of Kant's definition of the category sublime in post-Kantian aesthetic reflexion. Finding this line of thinking allows not only present relevant approaches to the whole history of the aesthetic category, but also to show the platform for new thinking not only in aesthetic discourse, but wherever the sublime enter today at the core of interest.
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  39. The Moral Source of the Kantian Sublime.Melissa McBay Merritt - 2012 - In Timothy Costelloe (ed.), The Sublime: From Antiquity to the Present (pp. 37-49). Cambridge University Press.
    A crucial feature of Kant's critical-period writing on the sublime is its grounding in moral psychology. Whereas in the pre-critical writings, the sublime is viewed as an inherently exhausting state of mind, in the critical-period writings it is presented as one that gains strength the more it is sustained. I account for this in terms of Kantian moral psychology, and explain that, for Kant, sound moral disposition is conceived as a sublime state of mind.
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  40. Kant on Sublimity and Morality.Joshua Rayman - 2012 - University of Wales Press.
    The concept of the sublime was crucial to the thought of Immanuel Kant, who defined it as the experience of what is great in power, size, or number. From ancient times to the present, the aesthetic experience of the sublime has been associated with morality, but if we want to be able to exclude evil, fascistic, or terroristic uses of the sublime—the inescapable awe generated by the Nuremberg rallies, for example—we require a systematic justification of the claim that there are (...)
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  41. Il cielo stellato sopra di me e la legge morale in me obsservazioni sul sublime e sulla logica dell'irrazionale in Kant.Marco Sgarbi - 2012 - Philosophica -- Revista Do Departamento de Filosofia da Faculdade de Letras de Lisboa 39:45-54.
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  42. Schopenhauer's Transformation of the Kantian Sublime.Sandra Shapshay - 2012 - Kantian Review 17 (3):479-511.
    Schopenhauer singles out Kant's theory of the sublime for high praise, calling it , yet, in his main discussion of the sublime, he ridicules Kant's explanation as being in the grip of scholastic metaphysics. My first aim in this paper is to sort out Schopenhauer's apparently conflicted appraisal of Kant's theory of the sublime. Next, based on his Nachla against prevailing scholarly views – as a transformation of rather than as a real departure from the Kantian explanation. Finally, I suggest (...)
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  43. Immanuel Kant: Observations on the Feeling of the Beautiful and Sublime and Other Writings.Immanuel Kant - 2011 - 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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  44. The Sublime and its Teleology: Kant, German Idealism, Phenomenology.Donald Loose (ed.) - 2011 - Brill.
    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.
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  45. Het Sublieme in de Kunst: Van Kant Tot Duchamp En Verder.Bart Vandenabeele - 2011 - Tijdschrift Voor Filosofie 73 (4):701-733.
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  46. A Case for Kantian Artistic Sublimity: A Response to Abaci.Robert R. Clewis - 2010 - Journal of Aesthetics and Art Criticism 68 (2):167-170.
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  47. On the Absolute, the Sublime, and Ecstatic Truth.Werner Herzog & Moira Weigel - 2010 - Arion 17 (3):1-12.
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  48. Introduction to Cosmological Aesthetics: The Kantian Sublime and Nietzschean Dionysian.Erman Kaplama - 2010 - International Journal of the Humanities 8 (2):69-84.
    This paper is founded on a close reading of Kant’s Opus Postumum in order both to explore the essential motivation that drove Kant to write a last comprehensive magnum opus and, by doing so, to show the essential link between his aesthetics and the idea of Übergang, the title of this last work. For this work contains not only his dynamical theory of matter defining motion as preliminary to the notions of space and time, and the advanced version of his (...)
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  49. Review: Clewis, The Kantian Sublime and the Revelation of Freedom[REVIEW]Melissa McBay Merritt - 2010 - British Journal for the History of Philosophy 18 (3):529-532.
    Review of Robert Clewis, _The Kantian Sublime and the Revelation of Freedom_.
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  50. Language and the Most Sublime in Kant's Third Critique.James Rasmussen - 2010 - Journal of Aesthetics and Art Criticism 68 (2):155-166.
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