In the history of aesthetics, few concepts have been as powerful and as elusive as the idea of the sublime, the "enthusiastic terror" that can possess us when we behold a mountain or a miracle. In his new book, James Kirwan traces the history of the sublime from its emergence in the eighteenth century to its resurgence in contemporary aesthetics. 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. With its appeal for readers in aesthetics, art history, religion, and literary theory, Sublimity will beof wide use to students and scholars. (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)

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)

Recent Darwin scholarship has provided grounds for recognising the Origin as a literary as well as a scientific achievement. While Darwin was an acute observer, a gifted experimentalist and indefatigable theorist, this essay argues that it was also crucial to his impact that the Origin transcended the putative divide between the scientific and the literary. Analysis of Darwin’s development as a writer between his journal-keeping on HMS Beagle and his construction of the Origin argues the latter draws on the pattern (...) of the Romantic or Kantian sublime. The Origin repeatedly uses strategies which challenge the natural-theological appeal to the imagination in conceiving nature. Darwin’s sublime coaches the Origin’s readers into a position from which to envision nature that reduces and contains its otherwise overwhelming complexity. As such, it was Darwin’s literary achievement that enabled him to fashion a new ‘habit of looking at things in a given way’ that is the centrepiece of the scientific revolution bearing his name. (shrink)

Recent Darwin scholarship has provided grounds for recognising the Origin as a literary as well as a scientific achievement. While Darwin was an acute observer, a gifted experimentalist and indefatigable theorist, this essay argues that it was also crucial to his impact that the Origin transcended the putative divide between the scientific and the literary. Analysis of Darwin's development as a writer between his journal-keeping on HMS Beagle and his construction of the Origin argues the latter draws on the pattern (...) of the Romantic or Kantian sublime. The Origin repeatedly uses strategies which challenge the natural-theological appeal to the imagination in conceiving nature. Darwin's sublime coaches the Origin's readers into a position from which to envision nature that reduces and contains its otherwise overwhelming complexity. As such, it was Darwin's literary achievement that enabled him to fashion a new 'habit of looking at things in a given way' that is the centrepiece of the scientific revolution bearing his name. (shrink)

The history of the opposition of the Dionysian and Apollonian principles is longer than is usually assumed. Similarly to the many of the other contrarian figures ascribed to Nietzsche, the Apollonian–Dionysian was not of his making; its history is much older and buried under a number of different layers of interpretation. In the following work I will discuss the formal aspects and content of their development, which took place under the direct authorial influence of Pseudo-Longinus, Jacob Bernays, Friedrich Schiller, Fr. (...) W. J. Schelling and Johan Jacob Bachofen. Still, although the discovery of a principle labelled das Dionysische doesn’t represent anything exceptional, the “Birth of Tragedy” treatise was a breakthrough: it began the development of a specific form of cultural critique, of which Nietzsche was the prime representative. (shrink)

This edited collection had its origins in a two-day conference held at the Tate Britain, organised collaboratively by research staff and students at Middlesex University and the London Consortium in order to celebrate the 250th Anniversary of the publication of Edmund Burke's famous book on the sublime. The conference was funded by Middlesex University, the London Consortium and the Tate Britain's AHRC-funded "Sublime Object: Nature, Art and Language" research project. The conference set out to critically examine the legacy of the (...) sublime in contemporary art, culture and society and to assess the value and the dangers of this concept as it is articulated in current thought and practice. The book selected from and expanded on the papers delivered at the conference in order to pursue this goal further. It was broken into themed sections (each of which had an introduction), each exploring an different issue around contemporary uses of the sublime. The sections were: 1. Nature, Ecology and the Sublime; 2. The Sublime After Kant; 3. Capitalism, Terror, Art and the Sublime; 4. Baroque and Beyond: Art, Sex and the Sublime; 5. The Cinematic Sublime. The volume reflects the interdisiplinarity of the concept of the sublime today, and includes essays whose appraoches come from aesthetics and ethics, ecological and political thought, psychoanalysis, feminism, film studies, literary studies, art history and popular culture. It includes papers by internationally renowned authors from the UK, America and Europe alongside the new voices of younger academics. The contributors were: Jane Bennett (Johns Hopkins University), Mark Bould (University of the West of England), Eu Jin Chua (London Consortium), Gudrun Filipska (Middlesex University), Cornelia Klinger (Institute for Human Sciences, Vienna / University of Tübingen, Germany), Esther Leslie (Birkbeck), William McDonald (Middlesex Univeristy), Laura Mulvey (Birkbeck), Claire Pajaczkowska (Royal College of Art), Griselda Pollock (University of Leeds), Gene Ray (Geneva University of Art and Design), Bettina Reiber (Central St. Martins), Jan Rosiek (University of Copenhagen), Sherryl Vint (Brock University, Canada), and Luke White (Middlesex University). (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)

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.

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)

Through a comparative analysis of diverse texts and contexts, this book offers a cultural history of the interplay between the aesthetic and the political in the formation of personal and collective identity that crystallizes into the Chinese aesthetic of the sublime. It describes how various kinds of politics are aestheticized and how aesthetic manifestations are bound up with prevalent ideologies and politics. In this book, politics refers to various projects for fashioning a viable self, a workable personal and collective identity (...) in the crisis-ridden history of modern China. These projects include imagining a political subject adapted to the modern nation-state, mobilizing revolutionary masses as subjects of the Communist state, sustaining a unified self despite the challenges to traditional culture, erecting the sublime figure of the revolutionary hero, and, finally, debunking the grand images of the hero and history in post-Mao culture. Throughout, the author seeks to delineate the ways the political masquerades as aesthetic discourse and aesthetic experience. Covering a wide range of material from fiction, poetry, aesthetics, and political discourse to memoirs, film, and historical documents, the book reconsiders a number of prominent cultural figures, including Wang Guowei, Cai Yuanpei, Lu Xun, Eileen Chang, Mao Zedong, Zhu Guangqian, and Li Zehou. It also analyzes such important cultural features and events as Western influences on the formation of modern Chinese aesthetic discourse, modernist writings, Revolutionary Cinema, the Cultural Revolution, and New Wave Fiction. An East-West comparative approach informs the analysis, which engages in dialogue with Kant, Hegel, Freud, Marx, and Walter Benjamin, as well as Terry Eagleton and other contemporary critics. The author's interdisciplinary method, which emphasizes the interaction among text, context, and the psyche, both presents new materials and illuminates familiar texts and phenomena from the perspective of the political-aesthetic nexus. (shrink)

Over the past decade, radical questioning of the grounds of Western epistemology has revealed that some antinomies of the aesthetic experience can be viewed as a general, yet necessarily open, model for human understanding. This book is a rigorous _explication de texte_ of a central text for this thesis, Kant's Analytic of the Sublime.

Philosophical aesthetics have seen an amazing revival over the past decade, as a radical questioning of the very grounds of Western epistemology has revealed that descriptions of what used to be seen as specific to aesthetic experience can instead be viewed as a general model for human cognition. In this revival, no text in the classical corpus of Western philosophy has been more frequently discussed and debated than the dense, complex paragraphs inserted into Kant's Critique of Judgment as sections 23-29: (...) the Analytic of the Sublime. This book is a rigorous explication de texte, a close reading of these sections. The Analytic of the Sublime, he points out, tries to argue that human thought is always constituted through a similar incompatibility between different intellectual and affective faculties. These lessons thus try to isolate the analysis of a differend of feeling in Kant's text, which is also the analysis of a feeling of differend, and to connect this feeling with the transport that leads all thought (critical thought included) to its limits. (shrink)

'Pain and pleasure are simple ideas, incapable of definition.'In 1757 the 27-year-old Edmund Burke argued that our aesthetic responses are experienced as pure emotional arousal, unencumbered by intellectual considerations. In so doing he overturned the Platonic tradition in aesthetics that had prevailed from antiquity until the eighteenth century, and replaced metaphysics with psychology and even physiology as the basis for the subject. Burke's theory of beauty encompasses the female form, nature, art, and poetry, and he analyses our delight in sublime (...) effects that thrill and excite us. His revolution in method continues to have repercussions in the aesthetic theories of today, and his revolution in sensibility has paved the way for literary and artistic movements from the Gothic novel through Romanticism, twentieth-century painting, and beyond. In this new edition Paul Guyer conducts the reader through Burke's Enquiry, focusing on its place in the history of aesthetics and highlighting its innovations, as well as its influence on many subsequent authors from Kant and Schiller to Ruskin and Nietzsche. (shrink)

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 - (...) and a common concern: the preservation of a notion of transcendence in the face of the secularization of modern culture. Combining intellectual history with literary theory and philosophical analysis, his book provides a new, searching and multilayered account of a concept that continues to stimulate thought about our responses to art, nature and human events. (shrink)

Notice --- Hobbes and Adams as Thucydideans --- Ancient Greece --- Alternative Concepts of the Human Condition --- Medieval Monarchy --- Renaissance Republics --- Founding Fathers --- The Moral Recuperation of Self-Interest --- Other Human Worlds --- Now is the Whimper of Our Self-Contempt --- Culture is the Human Nature.

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)

The vivid, dramatic images of distant stars and galaxies taken by the Hubble Space Telescope have come to define how we visualize the cosmos. In their immediacy and vibrancy, photographs from the Hubble show what future generations of space travelers might see should they venture beyond our solar system. But their brilliant hues and precise details are not simply products of the telescope's unprecedented orbital location and technologically advanced optical system. Rather, they result from a series of deliberate decisions made (...) by the astronomers who convert raw data from the Hubble into spectacular pictures by assigning colors, adjusting contrast, and actively composing the images, balancing the desire for an aesthetically pleasing representation with the need for a scientifically valid one. In Picturing the Cosmos, Elizabeth A. Kessler examines the Hubble's deep space images, highlighting the remarkable resemblance they bear to nineteenth-century paintings and photographs of the American West and their invocation of the visual language of the sublime. Drawing on art history and the history of science, as well as interviews with astronomers who work on the Hubble Heritage Project, Kessler traces the ways that the sublime, with its inherent tension between reason and imagination, not only forms the appearance of the images, but also operates on other levels. The sublime informs the dual expression—numeric and pictorial—of digital data and underpins the relevance of the frontier for a new era of exploration performed by our instruments rather than our bodies. Through their engagement with the sublime the Hubble images are a complex act of translation that encourages an experience of the universe as simultaneously beyond humanity's grasp and within the reach of our knowledge. Strikingly illustrated with full-color images, this book reveals the scientific, aesthetic, and cultural significance of the Hubble pictures, offering a nuanced understanding of how they shape our ideas—and dreams—about the cosmos and our places within it. (shrink)

An abrupt break in the prevailing modes of artistic expression, for many, marks the advent of modernism in the early twentieth century, but revisionary attempts to pin down a precise moment of its emergence remain disputed. History of a Shiver proffers a different approach, tracing the first inkling of modernism instead to the nineteenth century's fascination with music.As Jed Rasula deftly shows, melomania--the passion for music--gave rise to concepts like Richard Wagner's "endless melody" and the Gesamtkunstwerk, or total work of (...) art, which in turn infused the arts of the fin de siècle with an aura of expectancy, challenging them to induce musical effects by their own means. With each art aspiring to produce the effects of another artistic medium, a synesthetic yearning ran like a shiver through the body of art that would emerge over the next half century. Rasula traces this pan-arts polyphony from German Romantic theory to early experiments in "visual music," encompassing such diverse phenomena as American fixation on Arcadia, early film theory, and the lure of the fourth dimension. All the while, he keeps focus on the paramount historical consequence in elevating music to a new universal aesthetic standard, arguing that Wagnerism was first among modern "isms."In surveying this momentous interplay among arts, History of a Shiver ranges from literature, music and painting to theatre, cinema, dance, photography, and civic pageantry. It retells the story of modernism by recovering not an idea, but a feeling--the hair-raising potential for each painting, literary text, or musical composition to herald an unprecedented domain of human enterprise. (shrink)

SummaryMusic intended to evoke awe-inspiring fear in the presence of transcendence may be found throughout the work of Olivier Messiaen (1908–1992). The emotion's genealogy extends back through Hebrew and Christian scriptures (‘Fear of the Lord’), the Romantic period (‘sublime’), and the early twentieth century (the creature feeling response to the ‘numinous’ and ‘wholly other’). Messiaen's understanding of this emotion particularly derived from distinctions made by the French Catholic spiritual writer Ernest Hello (1828–1885). Hello distinguished between simple fear (la peur) that (...) makes us cower and the fear of ‘awe’ or ‘wonder’ (la crainte) that opens up possibilities of adoration and self-transcendence. This essay surveys several instances of Messiaen's evocations of fear in works dating from the 1940s through the 1970s. It then concludes with a brief consideration of Apparition of the Eternal Church (2008), a documentary film that records auditors’ reactions as they listen through headphones to Messiaen's crushing organ work (c. 1931/2) with the same title. A concluding question is posed to recent research in the ‘history of emotions’. If listeners do not share communal emotional categories of transcendence, to what extent can they experience Messiaen's intended ‘awe’ (la crainte) as something more than mere ‘fear’ (la peur)? (shrink)

We call sublime those things and experiences supposed to be the very best. But what if the best actually leads to inequality and exploitation? Williams critiques the sublime over its long history and in recent returns to sublime nature and technologies. Deploying a new critical method that draws on process philosophy, he shows how the sublime has always led to inequality. This holds true even where it underpins ideas of cosmopolitan enlightenment, and even when refined by Burke, Kant, Nietzsche, Schopenhauer (...) and Zizek. Against the unjust legacies of the traditional sublime, James Williams defends a new, anarchist sublime: multiple, self-destructive and temporary; opposed to any idea of highest value to be shared by all but always imposed on the powerless. (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 book examines the role of scepticism in initiating the idea of the sublime in early modern British literature. James Noggle draws on philosophy, intellectual history, and critical theory to illuminate the aesthetic ideology of Pope, Swift, Dryden, and Rochester among other important writers of the period. The Skeptical Sublime compares the view of sublimity presented by these authors with that of the dominant, liberal tradition of eighteenth-century criticism to offer a new understanding of how these writers helped construct proto-aesthetic (...) categories that stabilized British culture after years of civil war and revolution, while at the same time their scepticism allowed them to express ambivalence about the emerging social order. (shrink)

With its pessimistic vision and bleak message of world-denial, it has often been difficult to know how to engage with Schopenhauer's philosophy. Schopenhauer's arguments have seemed flawed and his doctrines marred by inconsistencies; his very pessimism almost too flamboyant to be believable. Yet a way of redrawing this engagement stands open, Sophia Vasalou argues, if we attend more closely to the visionary power of Schopenhauer's work. The aim of this book is to place the aesthetic character of Schopenhauer's standpoint at (...) the heart of the way we read his philosophy and the way we answer the question: why read Schopenhauer - and how? Approaching his philosophy as an enactment of the sublime with a longer history in the ancient philosophical tradition, Vasalou provides a fresh way of assessing Schopenhauer's relevance in critical terms. This book will be valuable for students and scholars with an interest in post-Kantian philosophy and ancient ethics. (shrink)

L'histoire du sublime, presque aussi ancienne que la philosophie, concerne, de nos jours, la plupart des disciplines qui la constituent esthétique, politique, éthique, anthropologie. Les philosophes ont d'abord pensé le sublime dans la sphère du discours. Ils ont étendu ensuite son domaine aux différents arts et aux grands phénomènes de la nature,- pour étudier, enfin, son apparition dans diverses formes d'activité humaine, comme les sciences et les techniques. Le sublime confronte la philosophie aux limites de son pouvoir, en vue de (...) la mettre en échec ou de lui permettre d'aller plus loin. Il opère à la fois comme principe de connaissance et comme principe de métamorphose. D'une part, il subvertit les valeurs du beau, du vrai et du bon, d'autre part, il me transcende ou me sublime, au sens très général où la sublimation est dépassement de soi. Le présent livre vise à redonner au sublime la place qu'il mérite dans notre système éducatif et dans nos vies : celle d'une épreuve initiatrice, susceptible d'insuffler la vie à des connaissances qui resteraient sinon formelles et tronquées. Il cherche également à nous orienter vers une science possible du sujet qui prenne en compte la vocation de l'homme à se transcender lui-même. (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)

The aesthetic techniques used in The Expanse are indicative of the infinite space that is an essential and ever‐present character in the show. The cinematography and set design of The Expanse make extensive use of chiaroscuro—a famous artistic technique in the history of painting. For some reason, the infinity of The Expanse attracts us. The look and design of the show indulges us in an experience of the sublime. The dynamically sublime is an experience of infinite power, but not where (...) our survival is threatened by it. The experience of the sublime is one proof of freedom. The absence of the ability to know the significance of what one does in the context of the infinite does not diminish the significance of what they do. The characters of The Expanse know this. They act because they know they must, and they have faith that what they do matters. (shrink)

This article demonstrates a novel conceptualization of sublimity: the sublime in the pedestrian. This pedestrian mode of sublimity is exemplified by the Biblical Abraham, the central figure of Kierkegaard’s pseudonymous Fear and Trembling. It is rooted in the analysis of one of the foundational stories of the three monotheistic religions: Abraham’s averted sacrifice of his son Isaac. The defining feature of this new, pedestrian mode of sublimity is that is remains hidden behind what I call a total incognito. It is (...) similar to the classical ‘elevated mode of sublimity’ as developed by Burke, Kant, and Schiller insofar as it denotes two contrasting feelings at once: repulsion and attraction. It is different insofar as Kierkegaard’s pedestrian mode of sublimity remains hidden from view and can only be shown indirectly. This article expounds the new, pedestrian mode of sublimity by investigating the relation between the incognito and the sublime in Fear and Trembling. It achieves that goal by engaging three perspectives: (1) the sublime failure that comes to the fore in the incognitos of an imaginary Abraham; (2) the ‘fear without being afraid’ that is invoked by God’s incognitos; (3) the total incognito of the pedestrian which conceals Abraham’s sublimity. (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)

The paper discusses the category "sublime" as it was used by J.-F. Lyotard. The author argues that Lyotard had made substantial change in the category's content regardless to the history of aesthetics . Lyotard's notion falls in line with notions "differentiation", "ope_ness", "indefinite", "paradoxical", "contradictory", etc. If it is to describe postmo_dern culture, the sublime must be accompanied by other notions, and particularly by notions as "mimesis", "form", "originality", "aesthetic norm", and "catharsis". In accordance with the current developments in Euro-Atlantic (...) culture the author argues that "sublime" is less valid for description now than it was before. Current culture is changing - it prefers norms and canons much wider than during last two decades. The time we were opened to tolerance and differences, is probably over, therefore, the author argues, the postmodern time has come to its end. (shrink)

In Hegel's 'Aesthetics', one can find a strong distinction between the Hebraic, true sublimity and the Indian, positive sublime. The main thesis of our article is that, from the rhetorical and cognitive point of view, the two sublimities do not form an opposition, although from the theological point of view they do. In order to affirm the thesis, we briefly analyze the main figures of the sublime as presented in Pseudo-Longinos' 'On the Sublime' and the concept of the sublime in (...) Kant. According to our theory of the sublime, the Lyotardian formula of the sublime as 'presenting the unpresentable' should be expressed as 'representing the unimaginable'. When we examine the main examples of the Hebraic and the Indian sublime, we can easily see that in both literary cultures we can find a strong mimetic element as well as antimimetic evocation of the unimaginable. We identify the mimetic element in the sublime texts not only with space seen in accord with Kant but also with 'mimesis of emotion' which is regarded as the main form of mimesis in the ancient Greek tradition, for instance in Plato. (shrink)

First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

What is special about the philosophy of history when the history is about science? I shall focus on an impasse between two perspectives — one seeking an ideal of rationality to guide scientific practices, and one stressing the contingency of the practices. They disagree on what this contingency means for scientific norms. Their impasse underlies some fractious relations within History and Philosophy of Science. Since the late 1960s, this interdisciplinary field has been described, variously, as an “intimate relationship or marriage (...) of convenience”, a “marriage for the sake of reason”, a “troubling interaction ”, a “precarious relationship”, or one at risk of “ epistemological derangement”. -/- My paper has three aims. First, I characterise two idealised perspectives in this impasse: the sublimers and subversives. Then I describe a curious dynamic in which each perspective accuses the other of, simultaneously, claiming too little and too much. Subliming is dismissed for being scholastic, and condemned for being imperialist. Subverting is disparaged for being merely sociological, then criticised for being irrational or relativist. Here I draw on and extend the analyses of science studies in Kitcher, Zammito and others. Second, I argue that sublimers and subversives often talk past each other. Their mutual dismissals and condemnations arise partly because each perspective misconstrues the other’s claims. Each fails to see that the other is interested in different problems and interprets concepts differently. Third, I suggest that my analysis clarifies some current disagreements and old debates about contingency in science. It may also apply to debates on the contingency of norms in non- scientific realms. (shrink)

First published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

The sublime - that elusive encounter with overwhelming height, power or limits - has had a long relationship with music, from the early-modern rise of interest in the Longinian sublime to its saturation of European culture in the later nineteenth century and beyond. Music sits in productive tension with the sublime in many foundational texts. Yet sustained attention to this relationship has been relatively uncommon. Scholars in other fields have called for a moratorium on studies of the sublime, yet there (...) are remarkably few books dedicated to the sublime and music. Drawing together perspectives from musicology, sound studies, literary studies, intellectual history and theology, this collection offers a perspective on music that responds to current understandings of the sublime as a pre-disciplinary category traversing the arts, sciences and humanities. (shrink)

ArgumentThe discovery of the Alps in the second half of the eighteenth century spawned an aesthetics of sublimity that enabled overwhelmed beholders of mountains to overcome their confusion symbolically by transforming initial speechlessness into pictures and words. When travelers ceased to be content with beholding mountains, however, and began climbing them, the sublime shudder turned into something else. In the snowy heights, all attempts to master symbolically the challenging landscape was thwarted by vertigo, somnolence, and fatigue. After 1850, physiologists intervened, (...) using the Alpine terrain as a laboratory landscape that was ideally suited to examine one of the most threatening concerns offin de siècleindustrial societies: fatigue. This essay examines how the picturesque voyage turned into an experimental physiology of fatigue, and how the “wordless subjectivity” of romantic travelers turned into the “wordless objectivity” of life scientists. (shrink)

In the Anthropocene, humanity has been forced to a self-critical reflection on its place in the natural order. A neglected tool for understanding this is the sublime. Sublime experience opens us up to encounters with ‘formless’ nature at the same time as we recognize the inevitability of imprinting our purposes on nature. In other words, it is constituted by just the sort of self-critical stance towards our place in nature that I identify as the hallmark of the Anthropocene ‘collision’ between (...) human and earth histories. (shrink)

Deleuze's relationship to Kant is intricate and fundamental, given that Deleuze develops his transcendental philosophy of difference in large part out of Kant's work. In doing so he utilises the moment of the sublime from the third Critique as the genetic model for the irruption of the faculties beyond their capture within common sense. In this sense, the sublime offers the model not only for transcendental genesis but also for aesthetic experience unleashed from any conditions of possibility. As a result, (...) sensation in both its wider and more specifically artistic senses (senses that become increasingly entwined in Deleuze's work) will explode the clichéés of human perception, and continually reinvent the history of art without recourse to representation. In tracing Deleuze's ‘‘aesthetics’’ from Kant we are therefore returned to the viciously anti-human (and Nietzschean) trajectory of Deleuze's work, while simultaneously being forced to address the extent of its remaining Idealism. Both of these elements play an important part in relation to Deleuze's ‘‘modernism’’, and to the discussion of his possible relevance to contemporary artistic practices. (shrink)

The politics of interpretation should not be confused with interpretive practices such as political theory, political commentary, or histories of political institutions, parties, and conflicts that have politics itself as a specific object of interest. In these other interpretive practices, the politics that informs or motivates them—“politics” in the sense of political values or ideology—is relatively easily perceived and no particular meta-interpretive analysis is required. The politics of interpretation, on the other hand, arises in those interpretive practices which are ostensibly (...) most remote from overtly political concerns, practices which are carried out under the aegis of a purely disinterested search for the truth or inquiry into the natures of things which appear to have no political relevance at all. This “politics” has to do with the kind of authority the interpreter claims vis-à-vis the established political authorities of his society, on the one side, and vis-à-vis other interpreters in his own field of study or investigation, on the other, as the basis of whatever rights he conceives himself to possess and whatever duties he feels obligated to discharge as a professional seeker of truth. This politics which presides over interpretive conflicts is difficult to identity because traditionally, in our culture at least, interpretation is thought to operate properly only as long as the interpreter does not have recourse to the one instrument which the politician per vocationem utilizes as a matter of course in his practice—the appeal to force as a means of resolving disputes and conflicts.11. I have followed the lead of Max Weber in defining the phrase “politics of interpretation.” In “Politics as Vocation,” Weber wrote that “ ‘politics’ means for us striving to share power or striving to influence the distribution of power, either among states or among groups within a state” . Rather than discuss the age-old problem of the professional interpreter’s political responsibilities, I will consider that politics which is endemic to the pursuit of truth—the striving to share power amongst interpreters themselves. The activity of interpreting becomes political at the point where a given interpreter claims authority over rival interpreters. As long as this claim is not reinforced by appeal to the power of the state to compel conformity of belief or conviction, it is “political” only in a metaphorical sense. Of course, interpretation becomes political when a given point of view or finding is taken as orthodoxy of belief by those holding political power, as in the Soviet Union, Germany under Hitler, or any number of religiously puritanical regimes. But these are the easy cases. It is much more difficult to determine the political nature of interpretive practices which, as in literary criticism or antiquarian scholarship, appear to have no bearing upon political policies or practices.Hayden White is a professor and director of the program in the history of consciousness at the University of California, Santa Cruz. He is coeditor of Representing Kenneth Burke and is currently working on a book on the rhetoric of realism. His previous contributions to Critical Inquiry are "The Value of Narrativity in the Representation of Reality" and "The Narrativization of Real Events". (shrink)