The Kantian Sublime and the Revelation of Freedom


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Kant: A philosophy of Freedom

Arthur Schopenhauer - Wikipedia, the free. According to his reasoning, this meant that oriental artists were more inclined towards the aesthetic and the sublime: they could engage God only through "sublated" means. He believed that the excess of intricate detail that is characteristic of Chinese art , or the dazzling metrical patterns characteristic of Islamic art , were typical examples of the sublime and argued that the disembodiment and formlessness of these art forms inspired the viewer with an overwhelming aesthetic sense of awe.

Rudolf Otto compared the sublime with his newly coined concept of the numinous.

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The numinous comprises terror, Tremendum , but also a strange fascination, Fascinans. The last decades of the 19th century saw the rise of Kunstwissenschaft , or the "science of art"—a movement to discern laws of aesthetic appreciation and arrive at a scientific approach to aesthetic experience. The experience of the sublime involves a self-forgetfulness where personal fear is replaced by a sense of well-being and security when confronted with an object exhibiting superior might, and is similar to the experience of the tragic.


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  • The "tragic consciousness" is the capacity to gain an exalted state of consciousness from the realization of the unavoidable suffering destined for all men and that there are oppositions in life that can never be resolved, most notably that of the "forgiving generosity of deity" subsumed to "inexorable fate". Thomas Weiskel re-examined Kant's aesthetics and the Romantic conception of the sublime through the prism of semiotic theory and psychoanalysis.

    The "dynamic sublime", on the other hand, was an excess of signifieds: meaning was always overdetermined. For him, the sublime's significance is in the way it points to an aporia impassable doubt in human reason; it expresses the edge of our conceptual powers and reveals the multiplicity and instability of the postmodern world. According to Mario Costa , the concept of the sublime should be examined first of all in relation to the epochal novelty of digital technologies, and technological artistic production: new media art , computer-based generative art , networking, telecommunication art.

    The traditional categories of aesthetics beauty, meaning, expression, feeling are being replaced by the notion of the sublime, which after being "natural" in the 18th century, and "metropolitan-industrial" in the modern era, has now become technological. There has also been some resurgence of interest in the sublime in analytic philosophy since the early s, with occasional articles in The Journal of Aesthetics and Art Criticism and The British Journal of Aesthetics , as well as monographs by writers such as Malcolm Budd, James Kirwan and Kirk Pillow.


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    As in the postmodern or critical theory tradition, analytic philosophical studies often begin with accounts of Kant or other philosophers of the 18th or early 19th centuries. Noteworthy is a general theory of the sublime, in the tradition of Longinus, Burke and Kant, in which Tsang Lap Chuen takes the notion of limit-situations in human life as central to the experience.

    Jadranka Skorin-Kapov in The Intertwining of Aesthetics and Ethics: Exceeding of Expectations, Ecstasy, Sublimity [23] argues for sublimity as the common root to aesthetics and ethics, "The origin of surprise is the break the pause, the rupture between one's sensibility and one's powers of representation The roles of aesthetics and ethics—that is, the roles of artistic and moral judgments, are very relevant to contemporary society and business practices, especially in light of the technological advances that have resulted in the explosion of visual culture and in the mixture of awe and apprehension as we consider the future of humanity.

    From Wikipedia, the free encyclopedia. For other uses, see Sublimity disambiguation. This article's lead section does not adequately summarize key points of its contents. Please consider expanding the lead to provide an accessible overview of all important aspects of the article. Please discuss this issue on the article's talk page. November Mountain Gloom and Mountain Glory.

    Dictionary of the History of Ideas. New York, The Moralists: A Philosophical Rhapsody. But Edmund Burke disagreed: "Nor is it, either in real or fictitious distresses, our immunity from them which produces our delight Also, Monroe C. Critique of Judgment. Macmillan, Noteworthy is a general theory of the sublime, in the tradition of Longinus, Burke and Kant, in which Tsang Lap Chuen takes the notion of limit-situations in human life as central to the experience. Jadranka Skorin-Kapov in The Intertwining of Aesthetics and Ethics: Exceeding of Expectations, Ecstasy, Sublimity [23] argues for sublimity as the common root to aesthetics and ethics, "The origin of surprise is the break the pause, the rupture between one's sensibility and one's powers of representation The roles of aesthetics and ethics—that is, the roles of artistic and moral judgments, are very relevant to contemporary society and business practices, especially in light of the technological advances that have resulted in the explosion of visual culture and in the mixture of awe and apprehension as we consider the future of humanity.

    From Wikipedia, the free encyclopedia. For other uses, see Sublimity disambiguation.

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    This article's lead section does not adequately summarize key points of its contents. Please consider expanding the lead to provide an accessible overview of all important aspects of the article.

    Robert Clewis | Gwynedd Mercy University

    Please discuss this issue on the article's talk page. November Mountain Gloom and Mountain Glory. Dictionary of the History of Ideas. New York, The Moralists: A Philosophical Rhapsody.

    But Edmund Burke disagreed: "Nor is it, either in real or fictitious distresses, our immunity from them which produces our delight Also, Monroe C. Critique of Judgment. Macmillan, The Kantian Sublime and the Revelation of Freedom. Cambridge: Cambridge University Press. Aesthetics: Lectures on Fine Art. Translated by T. Oxford: Clarendon, Towards a post-digital generative art" , Artmedia X Proceedings. Paris In Encyclopedia of Philosophy. Macmillan Lessons on the Analytic of the Sublime.

    Elizabeth Rottenberg. Stanford University Press, The Sublime: Groundwork towards a Theory. University of Rochester Press,

    The Kantian Sublime and the Revelation of Freedom The Kantian Sublime and the Revelation of Freedom
    The Kantian Sublime and the Revelation of Freedom The Kantian Sublime and the Revelation of Freedom
    The Kantian Sublime and the Revelation of Freedom The Kantian Sublime and the Revelation of Freedom
    The Kantian Sublime and the Revelation of Freedom The Kantian Sublime and the Revelation of Freedom
    The Kantian Sublime and the Revelation of Freedom The Kantian Sublime and the Revelation of Freedom
    The Kantian Sublime and the Revelation of Freedom The Kantian Sublime and the Revelation of Freedom
    The Kantian Sublime and the Revelation of Freedom The Kantian Sublime and the Revelation of Freedom
    The Kantian Sublime and the Revelation of Freedom The Kantian Sublime and the Revelation of Freedom

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