Abstract

There are two ironies in the popular science genre. First, it seeks to simplify even as it confounds. Authors in this genre have simultaneously to evoke awe-inspiring, sublime imagery, while also rendering the content easily accessible to a non-expert audience. Second, in doing so they undermine the naive realism of scientific orthodoxy and the liberal humanist subject that is their implied reader. The first irony occurs because of the use of the epistemological sublime, which is a rough cognate with awe, or wonder and which is the sublime of the eighteenth century, including that of Kant. The second irony is disclosed because of what I call the ontological sublime, characteristic of late twentieth-century theories of the sublime. The ontological sublime is more radical. Rather than being triggered by the limits of knowledge or imagination — as with awe and wonder — it calls into question ontological categories, including the integrity of reality, or indeed the coherence of the subject having the sublime experience. Rather than being self-affirming (like Kant's sublime), it is an ambivalent effect; it can be seen as self-abnegating or, more frequently, disruptive of the notion of selfhood entirely, even to the point of undermining the existence of phenomenal consciousness.