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print{body.ns-0 .mw-parser-output .hatnote{display:none!important}}</style><div role="note" class="hatnote navigation-not-searchable">"Sublimity" redirects here. For other uses, see <a href="/wiki/Sublimity_(disambiguation)" class="mw-disambig" title="Sublimity (disambiguation)">Sublimity (disambiguation)</a>.</div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Sublime_(literary)" title="Sublime (literary)">Sublime (literary)</a></div> <style data-mw-deduplicate="TemplateStyles:r1251242444">.mw-parser-output .ambox{border:1px solid #a2a9b1;border-left:10px solid #36c;background-color:#fbfbfb;box-sizing:border-box}.mw-parser-output .ambox+link+.ambox,.mw-parser-output .ambox+link+style+.ambox,.mw-parser-output .ambox+link+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+style+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+link+.ambox{margin-top:-1px}html body.mediawiki .mw-parser-output .ambox.mbox-small-left{margin:4px 1em 4px 0;overflow:hidden;width:238px;border-collapse:collapse;font-size:88%;line-height:1.25em}.mw-parser-output .ambox-speedy{border-left:10px solid #b32424;background-color:#fee7e6}.mw-parser-output .ambox-delete{border-left:10px solid #b32424}.mw-parser-output .ambox-content{border-left:10px solid #f28500}.mw-parser-output .ambox-style{border-left:10px solid #fc3}.mw-parser-output .ambox-move{border-left:10px solid #9932cc}.mw-parser-output .ambox-protection{border-left:10px solid #a2a9b1}.mw-parser-output .ambox .mbox-text{border:none;padding:0.25em 0.5em;width:100%}.mw-parser-output .ambox .mbox-image{border:none;padding:2px 0 2px 0.5em;text-align:center}.mw-parser-output .ambox .mbox-imageright{border:none;padding:2px 0.5em 2px 0;text-align:center}.mw-parser-output .ambox .mbox-empty-cell{border:none;padding:0;width:1px}.mw-parser-output .ambox .mbox-image-div{width:52px}@media(min-width:720px){.mw-parser-output .ambox{margin:0 10%}}@media print{body.ns-0 .mw-parser-output .ambox{display:none!important}}</style><table class="box-Lead_too_short plainlinks metadata ambox ambox-content ambox-lead_too_short" role="presentation"><tbody><tr><td class="mbox-text"><div class="mbox-text-span">This article's <a href="/wiki/Wikipedia:Manual_of_Style/Lead_section#Length" title="Wikipedia:Manual of Style/Lead section">lead section</a> <b>may be too short to adequately <a href="/wiki/Wikipedia:Summary_style" title="Wikipedia:Summary style">summarize</a> the key points</b>.<span class="hide-when-compact"> Please consider expanding the lead to <a href="/wiki/Wikipedia:Manual_of_Style/Lead_section#Provide_an_accessible_overview" title="Wikipedia:Manual of Style/Lead section">provide an accessible overview</a> of all important aspects of the article.</span> <span class="date-container"><i>(<span class="date">November 2017</span>)</i></span></div></td></tr></tbody></table> <p>In <a href="/wiki/Aesthetics" title="Aesthetics">aesthetics</a>, the <b>sublime</b> (from the <a href="/wiki/Latin" title="Latin">Latin</a> <i><a href="https://en.wiktionary.org/wiki/sublimis#Latin" class="extiw" title="wikt:sublimis">sublīmis</a></i>) is the <a href="https://en.wiktionary.org/wiki/quality" class="extiw" title="wikt:quality">quality</a> of greatness, whether <a href="/wiki/Physical_systems" class="mw-redirect" title="Physical systems">physical</a>, <a href="/wiki/Ethics" title="Ethics">moral</a>, <a href="/wiki/Intellectualism" title="Intellectualism">intellectual</a>, <a href="/wiki/Metaphysics" title="Metaphysics">metaphysical</a>, <a href="/wiki/Aesthetic" class="mw-redirect" title="Aesthetic">aesthetic</a>, <a href="/wiki/Spirituality" title="Spirituality">spiritual</a>, or <a href="/wiki/Art" title="Art">artistic</a>. The term especially refers to a greatness beyond all possibility of calculation, measurement, or imitation. </p><figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:Caspar_David_Friedrich_-_Wanderer_above_the_sea_of_fog.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/b/b9/Caspar_David_Friedrich_-_Wanderer_above_the_sea_of_fog.jpg/290px-Caspar_David_Friedrich_-_Wanderer_above_the_sea_of_fog.jpg" decoding="async" width="290" height="371" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/b/b9/Caspar_David_Friedrich_-_Wanderer_above_the_sea_of_fog.jpg/435px-Caspar_David_Friedrich_-_Wanderer_above_the_sea_of_fog.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/b/b9/Caspar_David_Friedrich_-_Wanderer_above_the_sea_of_fog.jpg/580px-Caspar_David_Friedrich_-_Wanderer_above_the_sea_of_fog.jpg 2x" data-file-width="2327" data-file-height="2980"></a><figcaption><a href="/wiki/Caspar_David_Friedrich" title="Caspar David Friedrich">Caspar David Friedrich</a>, <i><a href="/wiki/Wanderer_above_the_Sea_of_Fog" title="Wanderer above the Sea of Fog">Wanderer above the Sea of Fog</a>,</i> 1817, <a href="/wiki/Kunsthalle_Hamburg" class="mw-redirect" title="Kunsthalle Hamburg">Kunsthalle Hamburg</a>. Romantic artists during the 19th century used the epicness of nature as an expression of the sublime.</figcaption></figure> <p>Since its first application in the field of <a href="/wiki/Rhetoric" title="Rhetoric">rhetoric</a> and drama in <a href="/wiki/Ancient_Greece" title="Ancient Greece">ancient Greece</a> it became an important concept not just in philosophical aesthetics but also in <a href="/wiki/Literary_theory" title="Literary theory">literary theory</a> and <a href="/wiki/Art_history" title="Art history">art history</a>.<sup id="cite_ref-1" class="reference"><a href="#cite_note-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> </p> <div id="toc" class="toc" role="navigation" aria-labelledby="mw-toc-heading"><input type="checkbox" role="button" id="toctogglecheckbox" class="toctogglecheckbox" style="display:none"><div class="toctitle" lang="en" dir="ltr"><h2 id="mw-toc-heading">Contents</h2><span class="toctogglespan"><label class="toctogglelabel" for="toctogglecheckbox"></label></span></div> <ul> <li class="toclevel-1 tocsection-1"><a href="#Ancient_philosophy"><span class="tocnumber">1</span> <span class="toctext">Ancient philosophy</span></a></li> <li class="toclevel-1 tocsection-2"><a href="#Modern_philosophy"><span class="tocnumber">2</span> <span class="toctext">Modern philosophy</span></a> <ul> <li class="toclevel-2 tocsection-3"><a href="#British_philosophy"><span class="tocnumber">2.1</span> <span class="toctext">British philosophy</span></a> <ul> <li class="toclevel-3 tocsection-4"><a href="#Edmund_Burke"><span class="tocnumber">2.1.1</span> <span class="toctext">Edmund Burke</span></a></li> </ul> </li> <li class="toclevel-2 tocsection-5"><a href="#German_philosophy"><span class="tocnumber">2.2</span> <span class="toctext">German philosophy</span></a> <ul> <li class="toclevel-3 tocsection-6"><a href="#Immanuel_Kant"><span class="tocnumber">2.2.1</span> <span class="toctext">Immanuel Kant</span></a></li> <li class="toclevel-3 tocsection-7"><a href="#Arthur_Schopenhauer"><span class="tocnumber">2.2.2</span> <span class="toctext">Arthur Schopenhauer</span></a></li> <li class="toclevel-3 tocsection-8"><a href="#Georg_Wilhelm_Friedrich_Hegel"><span class="tocnumber">2.2.3</span> <span class="toctext">Georg Wilhelm Friedrich Hegel</span></a></li> <li class="toclevel-3 tocsection-9"><a href="#Rudolf_Otto"><span class="tocnumber">2.2.4</span> <span class="toctext">Rudolf Otto</span></a></li> </ul> </li> </ul> </li> <li class="toclevel-1 tocsection-10"><a href="#Contemporary_philosophy"><span class="tocnumber">3</span> <span class="toctext">Contemporary philosophy</span></a> <ul> <li class="toclevel-2 tocsection-11"><a href="#20th_century"><span class="tocnumber">3.1</span> <span class="toctext">20th century</span></a></li> <li class="toclevel-2 tocsection-12"><a href="#21st_century"><span class="tocnumber">3.2</span> <span class="toctext">21st century</span></a></li> </ul> </li> <li class="toclevel-1 tocsection-13"><a href="#See_also"><span class="tocnumber">4</span> <span class="toctext">See also</span></a></li> <li class="toclevel-1 tocsection-14"><a href="#References"><span class="tocnumber">5</span> <span class="toctext">References</span></a></li> <li class="toclevel-1 tocsection-15"><a href="#Further_reading"><span class="tocnumber">6</span> <span class="toctext">Further reading</span></a></li> <li class="toclevel-1 tocsection-16"><a href="#External_links"><span class="tocnumber">7</span> <span class="toctext">External links</span></a></li> </ul> </div> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(1)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="Ancient_philosophy">Ancient philosophy</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Sublime_(philosophy)&action=edit&section=1" title="Edit section: Ancient philosophy" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-1 collapsible-block" id="mf-section-1"> <p>The first known study of the <i>sublime</i> is ascribed to <a href="/wiki/Longinus_(literature)" class="mw-redirect" title="Longinus (literature)">Longinus</a>: Peri Hupsous/Hypsous or <i><a href="/wiki/On_the_Sublime" title="On the Sublime">On the Sublime</a></i>. This is thought to have been written in the 1st century AD though its origin and authorship are uncertain. For Longinus, the sublime is an adjective that describes great, elevated, or lofty thought or language, particularly in the context of <a href="/wiki/Rhetoric" title="Rhetoric">rhetoric</a>. As such, the sublime inspires <a href="/wiki/Awe" title="Awe">awe</a> and veneration, with greater persuasive powers. Longinus' treatise is also notable for referring not only to Greek authors such as <a href="/wiki/Homer" title="Homer">Homer</a>, but also to biblical sources such as <a href="/wiki/Book_of_Genesis" title="Book of Genesis">Genesis</a>. </p><p>This treatise was rediscovered in the 16th century, and its subsequent impact on aesthetics is usually attributed to its translation into French by linguist <a href="/wiki/Nicolas_Boileau-Despr%C3%A9aux" title="Nicolas Boileau-Despréaux">Nicolas Boileau-Despréaux</a> in 1674. Later the treatise was translated into English by John Pultney in 1680, <a href="/wiki/Leonard_Welsted" title="Leonard Welsted">Leonard Welsted</a> in 1712, and <a href="/wiki/William_Smith_(scholar)" title="William Smith (scholar)">William Smith</a> in 1739 whose translation had its fifth edition in 1800. </p> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(2)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="Modern_philosophy">Modern philosophy</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Sublime_(philosophy)&action=edit&section=2" title="Edit section: Modern philosophy" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-2 collapsible-block" id="mf-section-2"> <p>The concept of the sublime emerged in Europe with the birth of <a href="/wiki/Literary_criticism" title="Literary criticism">literary criticism</a> in the late 17th century.<sup id="cite_ref-:0_2-0" class="reference"><a href="#cite_note-:0-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> It was associated with the works of the French writers <a href="/wiki/Pierre_Corneille" title="Pierre Corneille">Pierre Corneille</a>, <a href="/wiki/Jean_Racine" title="Jean Racine">Jean-Baptiste Racine</a>, <a href="/wiki/Jean-Baptiste_Dubos" title="Jean-Baptiste Dubos">Jean-Baptiste l'Abbé Dubos</a>, and <a href="/wiki/Nicolas_Boileau-Despr%C3%A9aux" title="Nicolas Boileau-Despréaux">Nicolas Boileau-Despréaux</a>.<sup id="cite_ref-:0_2-1" class="reference"><a href="#cite_note-:0-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="British_philosophy">British philosophy</h3><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Sublime_(philosophy)&action=edit&section=3" title="Edit section: British philosophy" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div> <div class="thumb tright"> <div class="thumbinner" style="width: 222px;"> <div class="thumbimage" style="width: 220px; height: 300px; overflow: hidden;"> <div style="position: relative; top: -0px; left: -0px; width: 250px"><div class="noresize"><span typeof="mw:File"><a href="/wiki/File:Engelberg_01.JPG" class="mw-file-description"><noscript><img alt="Hahnen, Swiss Alps. British writers, taking the Grand Tour in the 17th and 18th centuries, first used the sublime to describe objects of nature." src="//upload.wikimedia.org/wikipedia/commons/thumb/8/89/Engelberg_01.JPG/250px-Engelberg_01.JPG" decoding="async" width="250" height="380" class="mw-file-element" data-file-width="1927" data-file-height="2927"></noscript><span class="lazy-image-placeholder" style="width: 250px;height: 380px;" data-mw-src="//upload.wikimedia.org/wikipedia/commons/thumb/8/89/Engelberg_01.JPG/250px-Engelberg_01.JPG" data-alt="Hahnen, Swiss Alps. British writers, taking the Grand Tour in the 17th and 18th centuries, first used the sublime to describe objects of nature." data-width="250" data-height="380" data-mw-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/89/Engelberg_01.JPG/375px-Engelberg_01.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/89/Engelberg_01.JPG/500px-Engelberg_01.JPG 2x" data-class="mw-file-element"> </span></a></span></div></div> </div> <div class="thumbcaption"> <div class="magnify"><a href="/wiki/File:Engelberg_01.JPG" title="File:Engelberg 01.JPG"> </a></div><a href="/wiki/Hahnen" title="Hahnen">Hahnen</a>, <a href="/wiki/Swiss_Alps" title="Swiss Alps">Swiss Alps</a>. British writers, taking the <a href="/wiki/Grand_Tour" title="Grand Tour">Grand Tour</a> in the 17th and 18th centuries, first used the sublime to describe objects of nature. </div> </div> </div> <p>In Britain, the development of the concept of the sublime as an aesthetic quality in nature distinct from beauty was brought into prominence in the 18th century in the writings of <a href="/wiki/Anthony_Ashley-Cooper,_3rd_Earl_of_Shaftesbury" title="Anthony Ashley-Cooper, 3rd Earl of Shaftesbury">Anthony Ashley-Cooper, 3rd Earl of Shaftesbury</a> and <a href="/wiki/John_Dennis_(dramatist)" title="John Dennis (dramatist)">John Dennis</a>. These authors expressed an appreciation of the fearful and irregular forms of external nature, and <a href="/wiki/Joseph_Addison" title="Joseph Addison">Joseph Addison</a>'s synthesis of concepts of the sublime in his <i><a href="/wiki/The_Spectator_(1711)" title="The Spectator (1711)">The Spectator</a></i>, and later the <i>Pleasures of the Imagination</i>. All three Englishmen had, within the span of several years, made the journey across the <a href="/wiki/Alps" title="Alps">Alps</a> and commented in their writings of the horrors and harmony of the experience, expressing a contrast of aesthetic qualities.<sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> </p><p>John Dennis was the first to publish his comments in a journal letter published as <i>Miscellanies</i> in 1693, giving an account of crossing the Alps where, contrary to his prior feelings for the beauty of nature as a "delight that is consistent with reason", the experience of the journey was at once a pleasure to the eye as music is to the ear, but "mingled with Horrours, and sometimes almost with despair".<sup id="cite_ref-Nicolson1974_4-0" class="reference"><a href="#cite_note-Nicolson1974-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> Shaftesbury had made the journey two years prior to Dennis but did not publish his comments until 1709 in the <i>Moralists</i>. His comments on the experience also reflected pleasure and repulsion, citing a "wasted mountain" that showed itself to the world as a "noble ruin" (Part III, Sec. 1, 390–91), but his concept of the sublime in relation to beauty was one of degree rather than the sharp contradistinction that Dennis developed into a new form of literary criticism. Shaftesbury's writings reflect more of a regard for the awe of the infinity of space ("Space astonishes" referring to the Alps), where the sublime was not an aesthetic quality in opposition to beauty, but a quality of a grander and higher importance than beauty. In referring to the Earth as a "Mansion-Globe" and "Man-Container" Shaftsbury writes "How narrow then must it appear compar'd with the capacious System of its own Sun...tho animated with a sublime Celestial Spirit...." (Part III, sec. 1, 373).<sup id="cite_ref-5" class="reference"><a href="#cite_note-5"><span class="cite-bracket">[</span>5<span class="cite-bracket">]</span></a></sup> </p><p>Joseph Addison embarked on the <a href="/wiki/Grand_Tour" title="Grand Tour">Grand Tour</a> in 1699 and commented in <i>Remarks on Several Parts of Italy etc.</i> that "The Alps fill the mind with an agreeable kind of horror".<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> The significance of Addison's concept of the sublime is that the three pleasures of the imagination that he identified—greatness, uncommonness, and beauty—"arise from visible objects"; that is, from sight rather than from rhetoric. It is also notable that in writing on the "Sublime in external Nature", he does not use the term "sublime" but uses semi-synonymous terms such as "unbounded", "unlimited", "spacious", "greatness", and on occasion terms denoting excess.<sup id="cite_ref-Nicolson1974_4-1" class="reference"><a href="#cite_note-Nicolson1974-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> </p><p>The British description of the sublime has been described as distinct from the Kantian conceptualization, which emphasized a detachment of aesthetic judgment.<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> The British tradition is noted for its rejection of the idea that aesthetic judgment and ethical conduct are not connected. One of its positions holds that the affective register of the sublime is not divorced from the standards that govern human conduct and that it does not transcend ethical conduct. </p> <div class="mw-heading mw-heading4"><h4 id="Edmund_Burke">Edmund Burke</h4><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Sublime_(philosophy)&action=edit&section=4" title="Edit section: Edmund Burke" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div> <p>Addison's notion of greatness was integral to the concept of sublimity. An object of art could be beautiful yet it could not possess greatness. His <i>Pleasures of the Imagination</i>, as well as <a href="/wiki/Mark_Akenside" title="Mark Akenside">Mark Akenside's</a> <i><a href="/wiki/Pleasures_of_the_Imagination" class="mw-redirect" title="Pleasures of the Imagination">Pleasures of the Imagination</a></i> of 1744 and <a href="/wiki/Edward_Young" title="Edward Young">Edward Young's</a> poem <i><a href="/wiki/Night_Thoughts_(poem)" class="mw-redirect" title="Night Thoughts (poem)">Night Thoughts</a></i> of 1745 are generally considered the starting points for <a href="/wiki/Edmund_Burke" title="Edmund Burke">Edmund Burke's</a> analysis of sublimity. </p><p><a href="/wiki/Edmund_Burke" title="Edmund Burke">Edmund Burke</a> developed his conception of sublimity in <i><a href="/wiki/A_Philosophical_Enquiry_into_the_Origin_of_Our_Ideas_of_the_Sublime_and_Beautiful" title="A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful">A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful</a></i> of 1756.<sup id="cite_ref-Nicolson1974_4-2" class="reference"><a href="#cite_note-Nicolson1974-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup> Burke was the first <a href="/wiki/Philosopher" class="mw-redirect" title="Philosopher">philosopher</a> to argue that sublimity and beauty are <i>mutually exclusive</i>. The dichotomy that Burke articulated is not as simple as Dennis' opposition, and is antithetical in the same degree as light and darkness. Light may accentuate beauty, but either great light or darkness, i. e., the absence of light, is sublime to the extent that it can annihilate vision of the object in question. What is "dark, uncertain, and confused"<sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> moves the imagination to awe and a degree of horror. While the relationship of sublimity and beauty is one of mutual exclusivity, either can provide pleasure. Sublimity may evoke horror, but knowledge that the perception is a fiction is pleasureful.<sup id="cite_ref-9" class="reference"><a href="#cite_note-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> </p><p>Burke's concept of sublimity was an antithetical contrast to the classical conception of the aesthetic quality of beauty being the pleasurable experience that <a href="/wiki/Plato" title="Plato">Plato</a> described in several of his dialogues, e. g. <i><a href="/wiki/Philebus" title="Philebus">Philebus</a></i>, <i><a href="/wiki/Ion_(dialogue)" title="Ion (dialogue)">Ion</a></i>, <i><a href="/wiki/Hippias_major" class="mw-redirect" title="Hippias major">Hippias Major</a></i>, and <i><a href="/wiki/Symposium_(Plato)" title="Symposium (Plato)">Symposium</a></i>, and suggested that ugliness is an aesthetic quality in its capacity to instill intense emotions, ultimately providing pleasure.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup> For <a href="/wiki/Aristotle" title="Aristotle">Aristotle</a>, the function of artistic forms was to instill pleasure, and he first pondered the problem that an object of art representing ugliness produces "pain." Aristotle's detailed analysis of this problem involved his study of tragic literature and its paradoxical nature as both shocking and having poetic value.<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> The classical notion of ugliness prior to Edmund Burke, most notably described in the works of <a href="/wiki/Augustine_of_Hippo" title="Augustine of Hippo">Saint Augustine of Hippo</a>, denoted it as the absence of form and therefore as a degree of non-existence. For St. Augustine, beauty is the result of the benevolence and goodness of God in His creation, and as a category it had no opposite. Because ugliness lacks any attributive value, it is formless due to the absence of beauty.<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup> </p><p>Burke's treatise is also notable for focusing on the <a href="/wiki/Physiology" title="Physiology">physiological</a> effects of sublimity, in particular the dual emotional quality of fear and attraction that other authors noted. Burke described the sensation attributed to sublimity as a <i>negative pain</i>, which he denominated "delight" and which is distinct from positive pleasure. "Delight" is thought to result from the removal of pain, caused by confronting a sublime object, and supposedly is more intense than positive pleasure. Though Burke's explanations for the physiological effects of sublimity, e. g. tension resulting from eye strain, were not seriously considered by later authors, his <a href="/wiki/Empiricism" title="Empiricism">empirical</a> method of reporting his own psychological experience was more influential, especially in contrast to the analysis of <a href="/wiki/Immanuel_Kant" title="Immanuel Kant">Immanuel Kant</a>. Burke is also distinguished from Kant in his emphasis on the subject's realization of his physical limitations rather than any supposed sense of moral or spiritual transcendence.<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading3"><h3 id="German_philosophy">German philosophy</h3><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Sublime_(philosophy)&action=edit&section=5" title="Edit section: German philosophy" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div> <div class="mw-heading mw-heading4"><h4 id="Immanuel_Kant">Immanuel Kant</h4><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Sublime_(philosophy)&action=edit&section=6" title="Edit section: Immanuel Kant" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div> <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1236090951"><div role="note" class="hatnote navigation-not-searchable">See also: <a href="/wiki/Immanuel_Kant#Aesthetic_philosophy" title="Immanuel Kant">Immanuel Kant § Aesthetic philosophy</a></div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:St-peter%27s-viviano-codazzi-prado-1630.jpg" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/9/95/St-peter%27s-viviano-codazzi-prado-1630.jpg/220px-St-peter%27s-viviano-codazzi-prado-1630.jpg" decoding="async" width="220" height="169" class="mw-file-element" data-file-width="6400" data-file-height="4905"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 169px;" data-mw-src="//upload.wikimedia.org/wikipedia/commons/thumb/9/95/St-peter%27s-viviano-codazzi-prado-1630.jpg/220px-St-peter%27s-viviano-codazzi-prado-1630.jpg" data-width="220" data-height="169" data-mw-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/9/95/St-peter%27s-viviano-codazzi-prado-1630.jpg/330px-St-peter%27s-viviano-codazzi-prado-1630.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/9/95/St-peter%27s-viviano-codazzi-prado-1630.jpg/440px-St-peter%27s-viviano-codazzi-prado-1630.jpg 2x" data-class="mw-file-element"> </span></a><figcaption><a href="/wiki/Viviano_Codazzi" title="Viviano Codazzi">Viviano Codazzi</a>: Rendition of <a href="/wiki/St._Peter%27s_Square" title="St. Peter's Square">St. Peter's Square</a>, Rome, dated 1630. Kant referred to St. Peter's as "splendid", a term he used for objects producing feeling for both the beautiful and the sublime.</figcaption></figure> <p>In an early work (of 1764), <a href="/wiki/Immanuel_Kant" title="Immanuel Kant">Immanuel Kant</a> made an attempt to record his thoughts on the observing subject's mental state in <i><a href="/wiki/Observations_on_the_Feeling_of_the_Beautiful_and_Sublime" title="Observations on the Feeling of the Beautiful and Sublime">Observations on the Feeling of the Beautiful and Sublime</a></i>. He held that the sublime was of three kinds: the noble, the splendid, and the terrifying. </p><p>In his later <i><a href="/wiki/Critique_of_Judgment" title="Critique of Judgment">Critique of Judgment</a></i> (1790),<sup id="cite_ref-14" class="reference"><a href="#cite_note-14"><span class="cite-bracket">[</span>14<span class="cite-bracket">]</span></a></sup> Kant says that there are two forms of the sublime, the mathematical and the dynamical, although some commentators hold that there is a third form, the moral sublime, a hold-over from the earlier "noble" sublime.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> Kant claims, "We call that sublime which is absolutely great"(§ 25). He distinguishes between the "remarkable differences" of the Beautiful and the Sublime, noting that beauty "is connected with the form of the object", having "boundaries", while the sublime "is to be found in a formless object", represented by a "boundlessness" (§ 23). </p><p>Kant divides the sublime into the mathematical and the dynamical, where in the mathematical "aesthetical comprehension" is not a consciousness of a merely greater unit, but the notion of absolute greatness not constrained by any idea of limitation (§ 27). The dynamically sublime is "nature considered in an aesthetic judgment as might that has no dominion over us", and an object can create a fearfulness "without [us] being afraid <i>of</i> it" (§ 28). </p><p>He considers both the beautiful and the sublime as "indefinite" concepts, but where beauty relates to the "Understanding", sublime is a concept belonging to "Reason", and "shows a faculty of the mind surpassing every standard of Sense" (§ 25). For Kant, one's inability to grasp the magnitude of a sublime event (such as an earthquake) demonstrates the inadequacy of one's sensibility and imagination. Simultaneously, one's ability subsequently to identify such an event as singular and whole indicates the superiority of one's cognitive, supersensible powers. Ultimately, it is this "supersensible substrate," underlying both nature and thought, on which true sublimity is located.<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Arthur_Schopenhauer">Arthur Schopenhauer</h4><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Sublime_(philosophy)&action=edit&section=7" title="Edit section: Arthur Schopenhauer" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div> <p>To clarify the concept of the feeling of the sublime, <a href="/wiki/Arthur_Schopenhauer" title="Arthur Schopenhauer">Arthur Schopenhauer</a> listed examples of its transition from the beautiful to the most sublime. This can be found in the first volume of his <i><a href="/wiki/The_World_as_Will_and_Representation" title="The World as Will and Representation">The World as Will and Representation</a></i>, § 39. </p><p>For him, the feeling of the beautiful is in seeing an object that invites the observer to transcend individuality, and simply observe the idea underlying the object. The feeling of the sublime, however, is when the object does not invite such contemplation but instead is an overpowering or vast malignant object of great magnitude, one that could destroy the observer. </p> <ul><li><i>Feeling of Beauty</i> – Light is reflected off a flower. (Pleasure from a mere perception of an object that cannot hurt observer).</li> <li><i>Weakest Feeling of Sublime</i> – Light reflected off stones. (Pleasure from beholding objects that pose no threat, objects devoid of life).</li> <li><i>Weaker Feeling of Sublime</i> – Endless desert with no movement. (Pleasure from seeing objects that could not sustain the life of the observer).</li> <li><i>Sublime</i> – Turbulent Nature. (Pleasure from perceiving objects that threaten to hurt or destroy observer).</li> <li><i>Full Feeling of Sublime</i> – Overpowering turbulent Nature. (Pleasure from beholding very violent, destructive objects).</li> <li><i>Fullest Feeling of Sublime</i> – Immensity of Universe's extent or duration. (Pleasure from knowledge of observer's nothingness and oneness with Nature).</li></ul> <div class="mw-heading mw-heading4"><h4 id="Georg_Wilhelm_Friedrich_Hegel">Georg Wilhelm Friedrich Hegel</h4><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Sublime_(philosophy)&action=edit&section=8" title="Edit section: Georg Wilhelm Friedrich Hegel" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div> <p><a href="/wiki/Georg_Wilhelm_Friedrich_Hegel" title="Georg Wilhelm Friedrich Hegel">Georg Wilhelm Friedrich Hegel</a> considered the sublime a marker of cultural difference and a characteristic feature of oriental art. His <a href="/wiki/Teleology" title="Teleology">teleological</a> view of history meant that he considered "oriental" cultures as less developed, more <a href="/wiki/Autocracy" title="Autocracy">autocratic</a> in terms of their political structures and more fearful of <a href="/wiki/God" title="God">divine law</a>. According to his reasoning, this meant that oriental artists were more inclined towards the aesthetic and the sublime: they could engage God only through <a href="/wiki/Aufheben" title="Aufheben">"sublated"</a> means. He believed that the excess of intricate detail that is characteristic of <a href="/wiki/Chinese_art" title="Chinese art">Chinese art</a>, or the dazzling metrical patterns characteristic of <a href="/wiki/Islamic_art" title="Islamic art">Islamic art</a>, 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.<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> </p> <div class="mw-heading mw-heading4"><h4 id="Rudolf_Otto">Rudolf Otto</h4><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Sublime_(philosophy)&action=edit&section=9" title="Edit section: Rudolf Otto" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div> <p><a href="/wiki/Rudolf_Otto" title="Rudolf Otto">Rudolf Otto</a> compared the sublime with his newly coined concept of the <a href="/wiki/Numinous" title="Numinous">numinous</a>. The numinous comprises terror, <i>Tremendum</i>, but also a strange fascination, <i>Fascinans</i>. </p> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(3)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="Contemporary_philosophy">Contemporary philosophy</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Sublime_(philosophy)&action=edit&section=10" title="Edit section: Contemporary philosophy" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-3 collapsible-block" id="mf-section-3"> <div class="mw-heading mw-heading3"><h3 id="20th_century">20th century</h3><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Sublime_(philosophy)&action=edit&section=11" title="Edit section: 20th century" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div> <figure class="mw-default-size mw-halign-right" typeof="mw:File/Thumb"><a href="/wiki/File:SMSMS.JPG" class="mw-file-description"><noscript><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/55/SMSMS.JPG/220px-SMSMS.JPG" decoding="async" width="220" height="202" class="mw-file-element" data-file-width="572" data-file-height="525"></noscript><span class="lazy-image-placeholder" style="width: 220px;height: 202px;" data-mw-src="//upload.wikimedia.org/wikipedia/commons/thumb/5/55/SMSMS.JPG/220px-SMSMS.JPG" data-width="220" data-height="202" data-mw-srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/55/SMSMS.JPG/330px-SMSMS.JPG 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/5/55/SMSMS.JPG/440px-SMSMS.JPG 2x" data-class="mw-file-element"> </span></a><figcaption><a href="/wiki/Maurizio_Bolognini" title="Maurizio Bolognini">Maurizio Bolognini</a>, <i>SMSMS (SMS Mediated Sublime</i>), 2000–2006, an interactive installation that aims to involve the audience in the experience of the manipulation and consumption of the <i>technological sublime</i><sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup><sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> <sup id="cite_ref-20" class="reference"><a href="#cite_note-20"><span class="cite-bracket">[</span>20<span class="cite-bracket">]</span></a></sup></figcaption></figure> <p>At the beginning of the 20th century <a href="/wiki/Neo-Kantian" class="mw-redirect" title="Neo-Kantian">Neo-Kantian</a> German philosopher and theorist of aesthetics <a href="/wiki/Max_Dessoir" title="Max Dessoir">Max Dessoir</a> founded the <i>Zeitschrift für Ästhetik und allgemeine Kunstwissenschaft</i>, which he edited for many years, and published the work <i>Ästhetik und allgemeine Kunstwissenschaft</i> in which he formulated five primary aesthetic forms: the beautiful, the sublime, the tragic, the ugly, and the comic.<sup id="cite_ref-21" class="reference"><a href="#cite_note-21"><span class="cite-bracket">[</span>21<span class="cite-bracket">]</span></a></sup> </p><p>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. 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".<sup id="cite_ref-22" class="reference"><a href="#cite_note-22"><span class="cite-bracket">[</span>22<span class="cite-bracket">]</span></a></sup> </p><p>Thomas Weiskel re-examined Kant's aesthetics and the Romantic conception of the sublime through the prism of <a href="/wiki/Semiotics" title="Semiotics">semiotic theory</a> and <a href="/wiki/Psychoanalysis" title="Psychoanalysis">psychoanalysis</a>.<sup id="cite_ref-23" class="reference"><a href="#cite_note-23"><span class="cite-bracket">[</span>23<span class="cite-bracket">]</span></a></sup> He argued that Kant's "mathematical sublime" could be seen in semiotic terms as the presence of an excess of <a href="/wiki/Sign_(semiotics)" title="Sign (semiotics)">signifiers</a>, a monotonous infinity threatens to dissolve all oppositions and distinctions. The "dynamic sublime", on the other hand, was an excess of signifieds: meaning was always <a href="/wiki/Overdetermination" title="Overdetermination">overdetermined</a>. </p><p>According to <a href="/wiki/Jean-Fran%C3%A7ois_Lyotard" title="Jean-François Lyotard">Jean-François Lyotard</a>, the sublime, as a theme in aesthetics, was the founding move of the <a href="/wiki/Modernist" class="mw-redirect" title="Modernist">Modernist</a> period.<sup id="cite_ref-24" class="reference"><a href="#cite_note-24"><span class="cite-bracket">[</span>24<span class="cite-bracket">]</span></a></sup> Lyotard argued that the modernists attempted to replace the beautiful with the release of the perceiver from the constraints of the human condition. For him, the sublime's significance is in the way it points to an <i><a href="/wiki/Aporia" title="Aporia">aporia</a></i> (impassable doubt) in human reason; it expresses the edge of our conceptual powers and reveals the multiplicity and instability of the <a href="/wiki/Postmodernity" title="Postmodernity">postmodern world</a>. </p> <div class="mw-heading mw-heading3"><h3 id="21st_century">21st century</h3><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Sublime_(philosophy)&action=edit&section=12" title="Edit section: 21st century" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div> <p>According to <a href="/wiki/Mario_Costa_(philosopher)" title="Mario Costa (philosopher)">Mario Costa</a>, the concept of the sublime should be examined first of all in relation to the epochal novelty of digital technologies, and technological artistic production: <a href="/wiki/New_media_art" title="New media art">new media art</a>, <a href="/wiki/Computer_generated_art" class="mw-redirect" title="Computer generated art">computer-based</a> <a href="/wiki/Generative_art" title="Generative art">generative art</a>, networking, telecommunication art.<sup id="cite_ref-25" class="reference"><a href="#cite_note-25"><span class="cite-bracket">[</span>25<span class="cite-bracket">]</span></a></sup> For him, the new technologies are creating conditions for a new kind of sublime: the "technological sublime". 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. </p><p>There has also been some resurgence of interest in the sublime in <a href="/wiki/Analytic_philosophy" title="Analytic philosophy">analytic philosophy</a> since the early 1990s, with occasional articles in <i>The Journal of Aesthetics and Art Criticism</i> and <i>The British Journal of Aesthetics</i>, as well as monographs by writers such as Malcolm Budd, James Kirwan and Kirk Pillow. 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 <a href="/wiki/Tsang_Lap_Chuen" title="Tsang Lap Chuen">Tsang Lap Chuen</a> presents the notion of limit-situations in life as being central to the human experience.<sup id="cite_ref-26" class="reference"><a href="#cite_note-26"><span class="cite-bracket">[</span>26<span class="cite-bracket">]</span></a></sup> </p><p><a href="/wiki/Jadranka_Skorin-Kapov" title="Jadranka Skorin-Kapov">Jadranka Skorin-Kapov</a> in <i>The Intertwining of Aesthetics and Ethics: Exceeding of Expectations, Ecstasy, Sublimity</i><sup id="cite_ref-27" class="reference"><a href="#cite_note-27"><span class="cite-bracket">[</span>27<span class="cite-bracket">]</span></a></sup> 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 recuperation that follows the break between one's sensibility and one's representational capability leads to sublimity and the subsequent feelings of admiration and/or responsibility, allowing for the intertwining of aesthetics and ethics... 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." </p> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(4)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="See_also">See also</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Sublime_(philosophy)&action=edit&section=13" title="Edit section: See also" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-4 collapsible-block" id="mf-section-4"> <ul><li><a href="/wiki/Digital_sublime" title="Digital sublime">Digital sublime</a></li> <li><a href="/wiki/Numinous" title="Numinous">Numinous</a></li> <li><a href="/wiki/Overview_effect" title="Overview effect">Overview effect</a></li> <li><a href="/wiki/Sense_of_wonder" title="Sense of wonder">Sense of wonder</a></li> <li><a href="/wiki/Sublime_(literary)" title="Sublime (literary)">Sublime (literary)</a></li></ul> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(5)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="References">References</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Sublime_(philosophy)&action=edit&section=14" title="Edit section: References" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-5 collapsible-block" id="mf-section-5"> <style data-mw-deduplicate="TemplateStyles:r1239543626">.mw-parser-output .reflist{margin-bottom:0.5em;list-style-type:decimal}@media screen{.mw-parser-output .reflist{font-size:90%}}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist"> <div class="mw-references-wrap mw-references-columns"><ol class="references"> <li id="cite_note-1"><span class="mw-cite-backlink"><b><a href="#cite_ref-1">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1238218222">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain;padding:0 1em 0 0}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:var(--color-error,#d33)}.mw-parser-output .cs1-visible-error{color:var(--color-error,#d33)}.mw-parser-output .cs1-maint{display:none;color:#085;margin-left:0.3em}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}@media screen{.mw-parser-output .cs1-format{font-size:95%}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911f}}@media screen and (prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911f}}</style><cite id="CITEREFDoran2017" class="citation book cs1">Doran, Robert (2017). <i>The Theory of the Sublime from Longinus to Kant</i>. Cambridge, UK: Cambridge University Press. p. 1. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-107-10153-1" title="Special:BookSources/978-1-107-10153-1"><bdi>978-1-107-10153-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Theory+of+the+Sublime+from+Longinus+to+Kant&rft.place=Cambridge%2C+UK&rft.pages=1&rft.pub=Cambridge+University+Press&rft.date=2017&rft.isbn=978-1-107-10153-1&rft.aulast=Doran&rft.aufirst=Robert&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASublime+%28philosophy%29" class="Z3988"></span></span> </li> <li id="cite_note-:0-2"><span class="mw-cite-backlink">^ <a href="#cite_ref-:0_2-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:0_2-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFCostelloe2013" class="citation book cs1">Costelloe, Timothy M. (2013). <i>The British Aesthetic Tradition: From Shaftesbury to Wittgenstein</i>. New York: Cambridge University Press. p. 4. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-521-51830-7" title="Special:BookSources/978-0-521-51830-7"><bdi>978-0-521-51830-7</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+British+Aesthetic+Tradition%3A+From+Shaftesbury+to+Wittgenstein&rft.place=New+York&rft.pages=4&rft.pub=Cambridge+University+Press&rft.date=2013&rft.isbn=978-0-521-51830-7&rft.aulast=Costelloe&rft.aufirst=Timothy+M.&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASublime+%28philosophy%29" class="Z3988"></span></span> </li> <li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text">Nicolson, Marjorie Hope. <i>Mountain Gloom and Mountain Glory</i>. Ithaca, 1959</span> </li> <li id="cite_note-Nicolson1974-4"><span class="mw-cite-backlink">^ <a href="#cite_ref-Nicolson1974_4-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Nicolson1974_4-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Nicolson1974_4-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Nicolson, Marjorie Hope. "Sublime in External Nature". <i>Dictionary of the History of Ideas</i>. New York, 1974.</span> </li> <li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text">Cooper, Anthony Ashley, Third Earl of Shaftesbury. <i>The Moralists: A Philosophical Rhapsody</i>. 1709.</span> </li> <li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">Joseph Addison, <i>Remarks on Several Parts of Italy etc. in the years 1701, 1702, 1703</i>. 1773 edition, printed for T. Walker. Chapter on ‘Geneva and the Lake’: 261 Located on Google books, accessed 11.12.07</span> </li> <li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFAshfieldde_Bolla1998" class="citation book cs1">Ashfield, Andrew; de Bolla, Peter (1998). <i>The Sublime: A Reader in British Eighteenth-Century Aesthetic Theory</i>. New York: Cambridge University Press. p. 3. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-521-39545-3" title="Special:BookSources/0-521-39545-3"><bdi>0-521-39545-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Sublime%3A+A+Reader+in+British+Eighteenth-Century+Aesthetic+Theory&rft.place=New+York&rft.pages=3&rft.pub=Cambridge+University+Press&rft.date=1998&rft.isbn=0-521-39545-3&rft.aulast=Ashfield&rft.aufirst=Andrew&rft.au=de+Bolla%2C+Peter&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASublime+%28philosophy%29" class="Z3988"></span></span> </li> <li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text"><a href="/wiki/Edmund_Burke" title="Edmund Burke">Edmund Burke</a>, <i><a href="/wiki/A_Philosophical_Enquiry_into_the_Origin_of_Our_Ideas_of_the_Sublime_and_Beautiful" title="A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful">A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful</a></i>, Part 1, Section 7: "Whatever is fitted in any sort to excite the ideas of pain, and danger, that is to say, whatever is in any sort terrible, or is conversant about terrible objects, or operates in a manner analogous to terror, is a source of the <i>sublime</i>; that is, it is productive of the strongest emotion which the mind is capable of feeling...." In Part 2, Section 2, Burke wrote that "terror is in all cases whatsoever, either more openly or latently, the ruling principle of the sublime."</span> </li> <li id="cite_note-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-9">^</a></b></span> <span class="reference-text">Monroe C. Beardsley, "History of Aesthetics", <i>Encyclopedia of Philosophy</i>, Volume 1, p. 27 (Macmillan, 1973). But Edmund Burke disagreed: "Nor is it, either in real or fictitious distresses, our immunity from them which produces our delight ... it is absolutely necessary that my life should be out of any imminent hazard, before I can take a delight in the sufferings of others, real or imaginary ... it is a sophism to argue from thence, that this immunity is the cause of my delight". (<i><a href="/wiki/A_Philosophical_Inquiry_into_the_Origin_of_Our_Ideas_of_the_Sublime_and_Beautiful" class="mw-redirect" title="A Philosophical Inquiry into the Origin of Our Ideas of the Sublime and Beautiful">A Philosophical Inquiry into the Origin of Our Ideas of the Sublime and Beautiful</a></i>, Part 1, Section 15)</span> </li> <li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">Jerome Stolnitz, "Ugliness", <i>Encyclopedia of Philosophy</i> (McMillan, 1973).</span> </li> <li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text">Monroe C. Beardsley, "History of Aesthetics", <i>Encyclopedia of Philosophy</i>, Volume 1, p. 20 (Macmillan, 1973).</span> </li> <li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text">Jerome Stolnitz, "Ugliness", <i>Encyclopedia of Philosophy</i> (McMillan, 1973). Also, Monroe C. Beardsley, "History of Aesthetics", <i>Encyclopedia of Philosophy</i>, Volume 1, p. 22 (Macmillan, 1973).</span> </li> <li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text">Vanessa L. Ryan, "The Physiological Sublime: Burke’s Critique of Reason", <i>Journal of the History of Ideas</i>, Volume 62, Number 1 (April 2001).</span> </li> <li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text">Kant, Immanuel. <i>Critique of Judgment</i>. Trans. J.H. Bernard. Macmillan, 1951.</span> </li> <li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text">Clewis, Robert. 2009. <i>The Kantian Sublime and the Revelation of Freedom</i>. Cambridge: Cambridge University Press. <a rel="nofollow" class="external free" href="http://www.cambridge.org/us/knowledge/isbn/item2326741/?site_locale=en_US">http://www.cambridge.org/us/knowledge/isbn/item2326741/?site_locale=en_US</a></span> </li> <li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text">Kant, Immanuel. <i>Critique of Judgment</i>. Trans. J.H. Bernard. Macmillan, 1951. Translator's introduction and notes to the <i>Critique of Judgment</i></span> </li> <li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text">Hegel, G.W.F. <i>Aesthetics: Lectures on Fine Art.</i> Translated by T.M. Know. Oxford: Clarendon, 1975.</span> </li> <li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFBolognini2004" class="citation journal cs1"><a href="/wiki/Maurizio_Bolognini" title="Maurizio Bolognini">Bolognini, Maurizio</a> (April 2004). "The SMSMS Project: Collective Intelligence Machines in the Digital City". <i>Leonardo</i>. <b>37</b> (2): <span class="nowrap">147–</span>149. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1162%2F0024094041139247">10.1162/0024094041139247</a>. <a href="/wiki/S2CID_(identifier)" class="mw-redirect" title="S2CID (identifier)">S2CID</a> <a rel="nofollow" class="external text" href="https://api.semanticscholar.org/CorpusID:57569240">57569240</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Leonardo&rft.atitle=The+SMSMS+Project%3A+Collective+Intelligence+Machines+in+the+Digital+City&rft.volume=37&rft.issue=2&rft.pages=%3Cspan+class%3D%22nowrap%22%3E147-%3C%2Fspan%3E149&rft.date=2004-04&rft_id=info%3Adoi%2F10.1162%2F0024094041139247&rft_id=https%3A%2F%2Fapi.semanticscholar.org%2FCorpusID%3A57569240%23id-name%3DS2CID&rft.aulast=Bolognini&rft.aufirst=Maurizio&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASublime+%28philosophy%29" class="Z3988"></span></span> </li> <li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text"> Maurizio Bolognini, "De l'interaction à la démocratie. Vers un art génératif post-digital" / <a rel="nofollow" class="external text" href="http://www.bolognini.org/lectures/amx.htm">"From interactivity to democracy. Towards a post-digital generative art"</a>, <i>Artmedia X Proceedings</i>. Paris 2010.</span> </li> <li id="cite_note-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-20">^</a></b></span> <span class="reference-text">The last decades of the 19th century saw the rise of <i>Kunstwissenschaft</i>, or the "science of art"—a movement to discern laws of aesthetic appreciation and arrive at a scientific approach to aesthetic experience: Stolnitz, Jerome. "Beauty". In <i>Encyclopedia of Philosophy</i>. Vol. 1, p. 266. Macmillan (1973).</span> </li> <li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text">Emery, Stephen A.. "Dessoir, Max". In <i>Encyclopedia of Philosophy</i>. Vol. 2, p. 355. Macmillan (1973).</span> </li> <li id="cite_note-22"><span class="mw-cite-backlink"><b><a href="#cite_ref-22">^</a></b></span> <span class="reference-text">Emery, Stephen A.. "Dessoir, Max". In <i>Encyclopedia of Philosophy</i>. Vol. 2, p. 356. Macmillan (1973).</span> </li> <li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text">Weiskel, Thomas. <i>The Romantic Sublime </i> (Baltimore: Johns Hopkins University Press, 1976)</span> </li> <li id="cite_note-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-24">^</a></b></span> <span class="reference-text">Lyotard, Jean-François. <i>Lessons on the Analytic of the Sublime</i>. Trans. Elizabeth Rottenberg. Stanford University Press, 1994. Lyotard expresses his own elements of the sublime but recommends <i>Kant's Critique of Judgment</i>, §23–§29 as a preliminary reading requirement to understanding his analysis.</span> </li> <li id="cite_note-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-25">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMario_Costa1994" class="citation cs2 cs1-prop-foreign-lang-source"><a href="/wiki/Mario_Costa_(philosopher)" title="Mario Costa (philosopher)">Mario Costa</a> (1994) [1990], <i>Le sublime technologique</i> (in French), Lausanne: IDERIVE, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/88-88091-85-8" title="Special:BookSources/88-88091-85-8"><bdi>88-88091-85-8</bdi></a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Le+sublime+technologique&rft.place=Lausanne&rft.pub=IDERIVE&rft.date=1994&rft.isbn=88-88091-85-8&rft.au=Mario+Costa&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASublime+%28philosophy%29" class="Z3988"></span>. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFMario_Costa2006" class="citation cs2 cs1-prop-foreign-lang-source"><a href="/wiki/Mario_Costa_(philosopher)" title="Mario Costa (philosopher)">Mario Costa</a> (2006), <a rel="nofollow" class="external text" href="http://www.francoangeli.it/Ricerca/Scheda_Libro.asp?ID=12843&Tipo=Libro&strRicercaTesto=&titolo=dimenticare+l++arte%2E+nuovi+orientamenti+nella+teoria+e+nella+sperimentazione+estetica"><i>Dimenticare l'arte</i></a> (in Italian), Milan: Franco Angeli, <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-88-464-6364-7" title="Special:BookSources/978-88-464-6364-7"><bdi>978-88-464-6364-7</bdi></a></cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Dimenticare+l%27arte&rft.place=Milan&rft.pub=Franco+Angeli&rft.date=2006&rft.isbn=978-88-464-6364-7&rft.au=Mario+Costa&rft_id=http%3A%2F%2Fwww.francoangeli.it%2FRicerca%2FScheda_Libro.asp%3FID%3D12843%26Tipo%3DLibro%26strRicercaTesto%3D%26titolo%3Ddimenticare%2Bl%2B%2Barte%252E%2Bnuovi%2Borientamenti%2Bnella%2Bteoria%2Be%2Bnella%2Bsperimentazione%2Bestetica&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASublime+%28philosophy%29" class="Z3988"></span>.</span> </li> <li id="cite_note-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-26">^</a></b></span> <span class="reference-text">Tsang, Lap Chuen. <i>The Sublime: Groundwork towards a Theory</i>. University of Rochester Press, 1998.</span> </li> <li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><cite id="CITEREFSkorin-Kapov2016" class="citation book cs1">Skorin-Kapov, Jadranka (2016). <i>The Intertwining of Aesthetics and Ethics: Exceeding of Expectations, Ecstasy, Sublimity</i>. Lanham, MD: Lexington Books. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-4985-2456-8" title="Special:BookSources/978-1-4985-2456-8"><bdi>978-1-4985-2456-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Intertwining+of+Aesthetics+and+Ethics%3A+Exceeding+of+Expectations%2C+Ecstasy%2C+Sublimity&rft.place=Lanham%2C+MD&rft.pub=Lexington+Books&rft.date=2016&rft.isbn=978-1-4985-2456-8&rft.aulast=Skorin-Kapov&rft.aufirst=Jadranka&rfr_id=info%3Asid%2Fen.wikipedia.org%3ASublime+%28philosophy%29" class="Z3988"></span></span> </li> </ol></div></div> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(6)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="Further_reading">Further reading</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Sublime_(philosophy)&action=edit&section=15" title="Edit section: Further reading" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-6 collapsible-block" id="mf-section-6"> <style data-mw-deduplicate="TemplateStyles:r1239549316">.mw-parser-output .refbegin{margin-bottom:0.5em}.mw-parser-output .refbegin-hanging-indents>ul{margin-left:0}.mw-parser-output .refbegin-hanging-indents>ul>li{margin-left:0;padding-left:3.2em;text-indent:-3.2em}.mw-parser-output .refbegin-hanging-indents ul,.mw-parser-output .refbegin-hanging-indents ul li{list-style:none}@media(max-width:720px){.mw-parser-output .refbegin-hanging-indents>ul>li{padding-left:1.6em;text-indent:-1.6em}}.mw-parser-output .refbegin-columns{margin-top:0.3em}.mw-parser-output .refbegin-columns ul{margin-top:0}.mw-parser-output .refbegin-columns li{page-break-inside:avoid;break-inside:avoid-column}@media screen{.mw-parser-output .refbegin{font-size:90%}}</style><div class="refbegin refbegin-columns references-column-width" style="column-width: 30em"> <ul><li><a href="/wiki/Addison,_Joseph" class="mw-redirect" title="Addison, Joseph">Addison, Joseph</a>. <i>The Spectator</i>. Ed. Donald E. Bond. Oxford, 1965.</li> <li>Beidler. P. G. "The Postmodern Sublime: Kant and Tony Smith's Anecdote of the Cube". <i>The Journal of Aesthetics and Art Criticism</i>, Vol. 53, No. 2 (Spring 1995): 177–186.</li> <li>Brady, E. "Imagination and the Aesthetic Appreciation of Nature". <i>The Journal of Aesthetics and Art Criticism</i>, Vol. 56, No. 2 (Spring 1998): 139–147.</li> <li>Brett, R.L. <i>The Third Earl of Shaftesbury</i>. London, 1951. ASIN: B0007IYKBU</li> <li>Budd, M. <i>The Aesthetic Appreciation of Nature</i>. Oxford, Oxford University Press, 2003.</li> <li>Burke, Edmund. <i><a href="/wiki/A_Philosophical_Enquiry_into_the_Origin_of_Our_Ideas_of_the_Sublime_and_Beautiful" title="A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful">A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful</a></i>. London, 1958. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-935005-28-5" title="Special:BookSources/0-935005-28-5">0-935005-28-5</a></li> <li>Clewis, Robert, ed. <i><a rel="nofollow" class="external text" href="https://www.bloomsbury.com/us/the-sublime-reader-9781350030152/">The Sublime Reader</a></i>. London: Bloomsbury Academic, 2019.</li> <li><a href="/w/index.php?title=Clewis,_Robert&action=edit&redlink=1" class="new" title="Clewis, Robert (page does not exist)">Clewis, Robert</a>, ed. <i>The Kantian Sublime and the Revelation of Freedom</i>. Cambridge: Cambridge University Press, 2009.</li> <li>Collingwood, R.G. <i>The Idea of Nature</i>. Oxford, 1945. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-313-25166-5" title="Special:BookSources/0-313-25166-5">0-313-25166-5</a></li> <li>Cooper, Anthony Ashley, Third Earl of Shaftesbury. <i>The Moralists: A Philosophical Rhapsody</i>, in <i><a href="/wiki/Characteristicks" class="mw-redirect" title="Characteristicks">Characteristicks</a></i>, Vol. II. Ed. John M. Robertson. London, 1900.</li> <li>Crowther, P. <i>How Pictures Complete Us; The Beautiful, the Sublime and the Divine</i>. Stanford University Press, 2016. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-80479846-4" title="Special:BookSources/978-0-80479846-4">978-0-80479846-4</a></li> <li>de Bolla, P. <i>The Discourse of the Sublime</i>. Basil Blackwell, 1989.</li> <li>Dennis, John. <i>Miscellanies in Verse and Prose</i>, in <i>Critical Works</i>, Vol. II. Ed. Edward Niles Hooker. Baltimore, 1939–1943. ASIN: B0007E9YR4</li> <li>Doran, Robert. "Literary History and the Sublime in Erich Auerbach's Mimesis". <i>New Literary History</i> 38.2 (2007): 353–369.</li> <li>Doran, Robert. <i>The Theory of the Sublime from Longinus to Kant</i>. Cambridge: Cambridge University Press, 2015. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://www.worldcat.org/oclc/959033482">959033482</a></li> <li>Dessoir, Max. <i>Aesthetics and theory of art. Ästhetik und allgemeine Kunstwissenschaft</i>. Translated by Stephen A. Emery. With a foreword by Thomas Munro. Detroit, Wayne State University Press, 1970. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8143-1383-3" title="Special:BookSources/0-8143-1383-3">0-8143-1383-3</a></li> <li>Duffy, C. <i>Shelley and the revolutionary sublime</i>. Cambridge, 2005.</li> <li>Ferguson, F. <i>Solitude and the Sublime: romanticism and the aesthetics of individuation</i>. <a href="/wiki/Routledge" title="Routledge">Routledge</a>, 1992.</li> <li>Fisher, P. <i>Wonder, the rainbow and the aesthetics of rare experiences</i>. Harvard University Press, 1999.</li> <li>Fudge, R. S. "Imagination and the Science-Based Aesthetic Appreciation of Unscenic Nature". <i>The Journal of Aesthetics and Art Criticism</i>, Vol. 59, No. 3 (Summer 2001): 275–285.</li> <li>Gilbert-Rolfe, Jeremy. "Beauty and the Contemporary Sublime," Allworth Press, 1999.</li> <li>Hipple, Walter John, Jr. <i>The Beautiful, the Sublime, and the Picturesque in Eighteenth-Century British Aesthetic Theory</i>. Carbondale, IL, 1957.</li> <li>Kant, Immanuel. <a href="/wiki/Critique_of_Judgment" title="Critique of Judgment">Critique of Judgment</a>. Trans. J.H. Bernard. Macmillan, 1951.</li> <li>Kant, Immanuel. <i><a href="/wiki/Observations_on_the_Feeling_of_the_Beautiful_and_Sublime" title="Observations on the Feeling of the Beautiful and Sublime">Observations on the Feeling of the Beautiful and Sublime</a></i>. Translated by John T. Goldthwaite. University of California Press, 2003. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-520-24078-2" title="Special:BookSources/0-520-24078-2">0-520-24078-2</a></li> <li>Kaplama, Erman. <i>Cosmological Aesthetics through the Kantian Sublime and Nietzschean Dionysian</i>. Lanham: UPA, Rowman & Littlefield, 2014.</li> <li>Kirwan, J. (2005). <i>Sublimity: The Non-Rational and the Irrational in the History of Aesthetics</i>. Routledge, 2005.</li> <li>Lyotard, Jean-François. <i>Lessons on the Analytic of the Sublime</i>. Trans. Elizabeth Rottenberg. Stanford University Press, 1994.</li> <li>Monk, Samuel H. <i>The Sublime: A Study of Critical Theories in XVIII-Century England</i>. Ann Arbor: University of Michigan Press, 1935/1960.</li> <li><a href="/wiki/Marjorie_Hope_Nicolson" title="Marjorie Hope Nicolson">Nicolson, Marjorie Hope</a>. <i>Mountain Gloom and Mountain Glory</i>. Ithaca, 1959. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-295-97577-6" title="Special:BookSources/0-295-97577-6">0-295-97577-6</a></li> <li>Navon, Mois. "Sublime Tekhelet". <a rel="nofollow" class="external text" href="http://www.divreinavon.com/pdf/SublimeTekhelet.pdf">The Writings of Mois Navon</a></li> <li>Nicolson, Marjorie Hope. "Sublime in External Nature". <i>Dictionary of the History of Ideas</i>. New York, 1974.</li> <li>Noel, J. "Space, Time and the Sublime in Hume's Treatise". <i>British Journal of Aesthetics</i>, Vol. 34, No. 3, July 1994: 218–225.</li> <li>Pillow, K. <i>Sublime Understanding: Aesthetic Reflection in Kant and Hegel</i>. MIT Press, 2000.</li> <li>Ryan, V. (2001). "The physiological sublime: Burke's critique of reason". <i>Journal of the history of ideas</i>, vol. 62, no. 2 (2001): 265–279.</li> <li><a href="/wiki/George_Santayana" title="George Santayana">George Santayana</a>. <i>The Sense of Beauty. Being the Outlines of Aesthetic Theory</i>. New York, Modern Library, 1955. Pp. 230–240.</li> <li>Saville, A. "Imagination and Aesthetic Value". <i>British Journal of Aesthetics</i>, Vol. 46, No. 3, July 2006: 248–258.</li> <li>Shaw, P. <i>The Sublime</i>. Routledge, 2006.</li> <li>Shusterman, R. "Somaesthetics and Burke's Sublime". <i>British Journal of Aesthetics</i>, Vol. 45, No. 4, October 2005: 323–341.</li> <li><a href="/wiki/Guy_Sircello" title="Guy Sircello">Sircello, Guy</a>, "How is a Theory of the Sublime Possible?" <i>The Journal of Aesthetics and Art Criticism</i>, Vol. 51, No. 4 (Autumn 1993): 541–550.</li> <li><a href="/wiki/Schopenhauer" class="mw-redirect" title="Schopenhauer">Schopenhauer</a>, Arthur. <i><a href="/wiki/The_World_as_Will_and_Representation" title="The World as Will and Representation">The World as Will and Representation</a></i>. Volume I. New York: Dover Press. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1238218222"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-486-21761-2" title="Special:BookSources/0-486-21761-2">0-486-21761-2</a></li> <li>Slocombe, Will. <i>Nihilism and the Sublime Postmodern: The (Hi)Story of a Difficult Relationship</i>. New York: Routledge, 2006.</li> <li>Stolnitz, Jerome. "On the Significance of Lord Shaftesbury in Modern Aesthetic Theory". <i>Philosophical Quarterly</i>, 43(2):97–113, 1961.</li> <li>Tsang, Lap Chuen. <i>The Sublime : Groundwork towards a Theory</i>. University of Rochester Press, 1998.</li> <li>Zuckert, R. "Awe or Envy? Herder contra Kant on the Sublime". <i>The Journal of Aesthetics and Art Criticism</i>, Vol. 61, No. 3 (Summer 2003): 217–232.</li></ul> </div> </section><div class="mw-heading mw-heading2 section-heading" onclick="mfTempOpenSection(7)"><span class="indicator mf-icon mf-icon-expand mf-icon--small"></span><h2 id="External_links">External links</h2><span class="mw-editsection"> <a role="button" href="/w/index.php?title=Sublime_(philosophy)&action=edit&section=16" title="Edit section: External links" class="cdx-button cdx-button--size-large cdx-button--fake-button cdx-button--fake-button--enabled cdx-button--icon-only cdx-button--weight-quiet "> <span class="minerva-icon minerva-icon--edit"></span> <span>edit</span> </a> </span> </div><section class="mf-section-7 collapsible-block" id="mf-section-7"> <style data-mw-deduplicate="TemplateStyles:r1235681985">.mw-parser-output .side-box{margin:4px 0;box-sizing:border-box;border:1px solid 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class="interlanguage-link interwiki-la mw-list-item"><a href="https://la.wikipedia.org/wiki/Sublimis" title="Sublimis – Latin" lang="la" hreflang="la" data-title="Sublimis" data-language-autonym="Latina" data-language-local-name="Latin" class="interlanguage-link-target"><span>Latina</span></a></li><li class="interlanguage-link interwiki-hu mw-list-item"><a href="https://hu.wikipedia.org/wiki/Fens%C3%A9ges" title="Fenséges – Hungarian" lang="hu" hreflang="hu" data-title="Fenséges" data-language-autonym="Magyar" data-language-local-name="Hungarian" class="interlanguage-link-target"><span>Magyar</span></a></li><li class="interlanguage-link interwiki-nl mw-list-item"><a href="https://nl.wikipedia.org/wiki/Het_sublieme" title="Het sublieme – Dutch" lang="nl" hreflang="nl" data-title="Het sublieme" data-language-autonym="Nederlands" data-language-local-name="Dutch" class="interlanguage-link-target"><span>Nederlands</span></a></li><li class="interlanguage-link interwiki-ja mw-list-item"><a href="https://ja.wikipedia.org/wiki/%E5%B4%87%E9%AB%98" title="崇高 – Japanese" lang="ja" hreflang="ja" data-title="崇高" data-language-autonym="日本語" data-language-local-name="Japanese" class="interlanguage-link-target"><span>日本語</span></a></li><li class="interlanguage-link interwiki-oc mw-list-item"><a href="https://oc.wikipedia.org/wiki/Sublim" title="Sublim – Occitan" lang="oc" hreflang="oc" data-title="Sublim" data-language-autonym="Occitan" data-language-local-name="Occitan" class="interlanguage-link-target"><span>Occitan</span></a></li><li class="interlanguage-link interwiki-pa mw-list-item"><a href="https://pa.wikipedia.org/wiki/%E0%A8%89%E0%A8%A6%E0%A8%BE%E0%A8%A4_(%E0%A8%A6%E0%A8%B0%E0%A8%B8%E0%A8%BC%E0%A8%A8)" title="ਉਦਾਤ (ਦਰਸ਼ਨ) – Punjabi" lang="pa" hreflang="pa" data-title="ਉਦਾਤ (ਦਰਸ਼ਨ)" data-language-autonym="ਪੰਜਾਬੀ" data-language-local-name="Punjabi" class="interlanguage-link-target"><span>ਪੰਜਾਬੀ</span></a></li><li class="interlanguage-link interwiki-pl mw-list-item"><a href="https://pl.wikipedia.org/wiki/Wznios%C5%82o%C5%9B%C4%87" title="Wzniosłość – Polish" lang="pl" hreflang="pl" data-title="Wzniosłość" data-language-autonym="Polski" data-language-local-name="Polish" class="interlanguage-link-target"><span>Polski</span></a></li><li class="interlanguage-link interwiki-pt mw-list-item"><a href="https://pt.wikipedia.org/wiki/Sublime_(est%C3%A9tica)" title="Sublime (estética) – Portuguese" lang="pt" hreflang="pt" data-title="Sublime (estética)" data-language-autonym="Português" data-language-local-name="Portuguese" class="interlanguage-link-target"><span>Português</span></a></li><li class="interlanguage-link interwiki-ru mw-list-item"><a href="https://ru.wikipedia.org/wiki/%D0%92%D0%BE%D0%B7%D0%B2%D1%8B%D1%88%D0%B5%D0%BD%D0%BD%D0%BE%D0%B5" title="Возвышенное – Russian" lang="ru" hreflang="ru" data-title="Возвышенное" data-language-autonym="Русский" data-language-local-name="Russian" class="interlanguage-link-target"><span>Русский</span></a></li><li class="interlanguage-link interwiki-simple mw-list-item"><a href="https://simple.wikipedia.org/wiki/Sublime_(philosophy)" title="Sublime (philosophy) – Simple English" lang="en-simple" hreflang="en-simple" data-title="Sublime (philosophy)" data-language-autonym="Simple English" data-language-local-name="Simple English" class="interlanguage-link-target"><span>Simple English</span></a></li><li class="interlanguage-link interwiki-sd mw-list-item"><a href="https://sd.wikipedia.org/wiki/%D8%AA%D8%B1%D9%81%D8%B9" title="ترفع – Sindhi" lang="sd" hreflang="sd" data-title="ترفع" data-language-autonym="سنڌي" data-language-local-name="Sindhi" class="interlanguage-link-target"><span>سنڌي</span></a></li><li class="interlanguage-link interwiki-ckb mw-list-item"><a href="https://ckb.wikipedia.org/wiki/%D8%A8%DB%95%D8%B4%DA%A9%DB%86_(%D9%81%DB%95%D9%84%D8%B3%DB%95%D9%81%DB%95)" title="بەشکۆ (فەلسەفە) – Central Kurdish" lang="ckb" hreflang="ckb" data-title="بەشکۆ (فەلسەفە)" data-language-autonym="کوردی" data-language-local-name="Central Kurdish" class="interlanguage-link-target"><span>کوردی</span></a></li><li class="interlanguage-link interwiki-sr mw-list-item"><a href="https://sr.wikipedia.org/wiki/Subliman_(filozofija)" title="Subliman (filozofija) – Serbian" lang="sr" hreflang="sr" data-title="Subliman (filozofija)" data-language-autonym="Српски / srpski" data-language-local-name="Serbian" class="interlanguage-link-target"><span>Српски / srpski</span></a></li><li class="interlanguage-link interwiki-fi mw-list-item"><a href="https://fi.wikipedia.org/wiki/Subliimi" title="Subliimi – Finnish" lang="fi" hreflang="fi" data-title="Subliimi" data-language-autonym="Suomi" data-language-local-name="Finnish" class="interlanguage-link-target"><span>Suomi</span></a></li><li class="interlanguage-link interwiki-sv mw-list-item"><a href="https://sv.wikipedia.org/wiki/Sublim" title="Sublim – Swedish" lang="sv" hreflang="sv" data-title="Sublim" data-language-autonym="Svenska" data-language-local-name="Swedish" class="interlanguage-link-target"><span>Svenska</span></a></li><li class="interlanguage-link interwiki-tr mw-list-item"><a href="https://tr.wikipedia.org/wiki/Y%C3%BCcelik" title="Yücelik – Turkish" lang="tr" hreflang="tr" data-title="Yücelik" data-language-autonym="Türkçe" data-language-local-name="Turkish" class="interlanguage-link-target"><span>Türkçe</span></a></li><li class="interlanguage-link interwiki-uk mw-list-item"><a href="https://uk.wikipedia.org/wiki/%D0%9F%D1%96%D0%B4%D0%BD%D0%B5%D1%81%D0%B5%D0%BD%D0%B5" title="Піднесене – Ukrainian" lang="uk" hreflang="uk" data-title="Піднесене" data-language-autonym="Українська" data-language-local-name="Ukrainian" class="interlanguage-link-target"><span>Українська</span></a></li><li class="interlanguage-link interwiki-zh mw-list-item"><a href="https://zh.wikipedia.org/wiki/%E5%B4%87%E9%AB%98" title="崇高 – Chinese" lang="zh" hreflang="zh" data-title="崇高" data-language-autonym="中文" data-language-local-name="Chinese" class="interlanguage-link-target"><span>中文</span></a></li></ul> </section> </div> <div class="minerva-footer-logo"><img src="/static/images/mobile/copyright/wikipedia-wordmark-en.svg" alt="Wikipedia" width="120" height="18" style="width: 7.5em; height: 1.125em;"/> </div> <ul id="footer-info" class="footer-info hlist hlist-separated"> <li id="footer-info-lastmod"> This page was last edited on 3 February 2025, at 22:08<span class="anonymous-show"> (UTC)</span>.</li> <li id="footer-info-copyright">Content is available under <a class="external" rel="nofollow" href="https://creativecommons.org/licenses/by-sa/4.0/deed.en">CC BY-SA 4.0</a> unless otherwise noted.</li> </ul> <ul id="footer-places" class="footer-places hlist hlist-separated"> <li id="footer-places-privacy"><a href="https://foundation.wikimedia.org/wiki/Special:MyLanguage/Policy:Privacy_policy">Privacy policy</a></li> <li id="footer-places-about"><a 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