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Books on the topic 'Belo e Sublime - Kant'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Giordanetti, Piero. Etica, genio e sublime in Kant. Milano: Mimesis, 2011.

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2

Feloj, Serena. Il sublime nel pensiero di Kant. Brescia: Morcelliana, 2012.

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3

Martyn, David. Sublime failures: The ethics of Kant and Sade. Detroit, Mich: Wayne State University Press, 2003.

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4

The sublime and its teleology: Kant, German idealism, phenomenology. Leiden: Brill, 2012.

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5

The Kantian sublime and the revelation of freedom. Cambridge: Cambridge University Press, 2009.

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6

The sublime in Kant and Beckett: Aesthetic judgement, ethics and literature. Berlin: W. de Gruyter, 2002.

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7

Carrano, Antonio. Dismisura e apparenza: Vicissitudini di un'idea : il sublime da Kant a Schopenhauer. Genova: Il melangolo, 2005.

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8

Edmund, Burke. Uma investigação filosofica sobre a origem de nossas ideias do sublime e do belo. Campinas: Papirus, 1993.

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9

Césarini, Laurence Manesse. Le sublime anomique: Le renversement de l'histoire de Kant à Lyotard. Paris: L'Harmattan, 2008.

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10

Le sublime anomique: Le renversement de l'histoire de Kant à Lyotard. Paris: L'Harmattan, 2008.

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11

Brooks, Linda Marie. The menace of the sublime to the individual self: Kant, Schiller, Coleridge, and the disintegration of romantic identity. Lewiston, NY: Edwin Mellen Press, 1995.

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12

Catena, Maria Teresa. Orientamento e disorientamento: Il sublime come luogo sistematico della filosofia di Kant. Milano: Guerini scientifica, 1996.

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13

Monthoux, Pierre Guillet de. Esthétique du management: Gestion du beau et du sublime de Kant à Gadamer. Paris, France: L'Harmattan, 1998.

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14

Francesca Woodman and the Kantian sublime. Burlington, VT: Ashgate, 2009.

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15

The Kantian sublime: From morality to art. Oxford: Clarendon Press, 1989.

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16

Leçons sur l'Analytique du sublime: Kant, critique de la faculté de juger, [Sections] 23-29. [Paris]: Galilée, 1991.

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17

Auf der Schwelle: Ästhetik des Erhabenen und negative Theologie: Pseudo-Dionysius Areopagita, Immanuel Kant und Jean-Francois Lyotard. Würzburg: Königshausen & Neumann, 2007.

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18

Solitude and the sublime: Romanticism and the aesthetics of individuation. New York: Routledge, 1992.

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19

Allison, Henry E. Kant's theory of taste: A reading of the Critique of aesthetic judgment. Cambridge: Cambridge University Press, 2001.

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20

Kant's theory of taste: A reading of the Critique of aesthetic judgment. Cambridge: Cambridge University Press, 2001.

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21

Sublime. Cambridge University Press, 2018.

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22

Theory of the Sublime from Longinus to Kant. Cambridge University Press, 2015.

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23

Doran, Robert. The Theory of the Sublime from Longinus to Kant. Cambridge University Press, 2017.

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24

Loose, Donald. Sublime and Its Teleology: Kant - German Idealism - Phenomenology. BRILL, 2011.

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25

Clewis, Robert R. Kantian Sublime and the Revelation of Freedom. University of Cambridge ESOL Examinations, 2015.

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26

Sublime Failures: The Ethics of Kant and Sade (Kritik (Detroit, Mich.).). Wayne State University Press, 2002.

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27

Brooks, Linda Marie. The Menace of the Sublime to the Individual Self: Kant, Schiller, Coleridge and the Disintegration of Romantic Identity. Edwin Mellen Press, 1996.

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28

Zepke, Stephen. Sublime Art. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748669998.001.0001.

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The book analyses recent philosophical discussions of Kant’s theory of the sublime, and the artistic examples these give or provoke, in order to construct a diagram of sublime contemporary art. This diagram will have the immediate aim of producing a new genealogy of post-war art that avoids the modern/postmodern rupture, in favour of a sublime art that can utilise both traditional and new media and has the production of the future as its political goal. The book will draw on both philosophical discourse and art history and theory in making its argument. The introduction will give an account of the historical emergence of the sublime, concentrating on Kant. The following five chapters will each discuss a contemporary philosopher’s reading of Kant’s sublime (Lyotard, Derrida, Deleuze and Guattari, Rancière, Jameson), and also consider their artistic examples. From this will be drawn a diagram of sublime art that incorporates the most useful aspects of each thinker, and also outlines a new genealogy of post-war art. The sixth chapter will then use this diagram, and its artistic genealogy, to offer a theory of contemporary artistic practices as an aesthetic politics (ie., a biopolitics) that overcomes the current (postmodern) impasse between art and life. The conclusion will project this new diagram into the future.

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29

Brophy, Susan. Immanuel Kant. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423632.003.0017.

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Agamben’s complicated engagement with Immanuel Kant celebrates the brilliance of the German idealist’s thought by disclosing its condemnatory weight in Western philosophy. Kant was writing in the midst of burgeoning industrial capitalism, when each new scientific discovery seemed to push back the fog of religion in favour of science and reason; meanwhile Agamben’s work develops in concert with the crises of advanced capitalism and borrows significantly from those philosophers who endured the most demoralising upheavals of the first half of the twentieth century. Whatever lanugo Kant was eager for us to shed in the name of individual freedom,1 Agamben sees in this crusade for civic maturity a surprising prescience: ‘[I]t is truly astounding how Kant, almost two centuries ago and under the heading of a sublime “moral feeling,” was able to describe the very condition that was to become familiar to the mass societies and great totalitarian states of our time’ (HS 52). To a remarkable extent, Agamben finds that Kant’s transcendental idealist frame of thought lays the philosophical foundation for the state of exception.

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30

Dejardin, Bertrand. L'immance ou le sublime. oberservation sur les reations de kant face a spinoza dans la critique. L'Harmattan, 2001.

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31

Cosmological Aesthetics Through The Kantian Sublime And Nietzschean Dionysian. University Press of America, 2014.

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32

Williams, James. The Egalitarian Sublime. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474439114.001.0001.

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The book answers the question: Can the sublime be egalitarian? It gives critical studies of the main historical theories of the sublime, from Longinus, Burke, Kant, Nietzsche and Schopenhauer, as well as recent secondary literature. There are also reactions to contemporary positions, from Žižek, Lyotard, Kristeva and Adorno. It is argued that the sublime has always had consequences counter to equality. In response to this, the book defends an anarchist theory of the sublime, where anarchism is part of a radical commitment to democracy and multiplicity. The book develops a new method, inspired by microhistory and by the process philosophy of signs, from my earlier book A Process Philosophy of Signs. Diagrams of the effects of definitions of the sublime are central to this method. The definition of egalitarian is made in relation to Balibar and to Rancière. This definition leads to a rejection of the technological and environmental sublimes on the basis of their failure to be egalitarian.

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33

Gross, Alan G. The Scientific Sublime. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190637774.001.0001.

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The sublime evokes our awe, our terror, and our wonder. Applied first in ancient Greece to the heights of literary expression, in the 18th-century the sublime was extended to nature and to the sciences, enterprises that viewed the natural world as a manifestation of God's goodness, power, and wisdom. In The Scientific Sublime, Alan Gross reveals the modern-day sublime in popular science. He shows how the great popular scientists of our time--Richard Feynman, Stephen Hawking, Steven Weinberg, Brian Greene, Lisa Randall, Rachel Carson, Stephen Jay Gould, Steven Pinker, Richard Dawkins, and E. O. Wilson--evoke the sublime in response to fundamental questions: How did the universe begin? How did life? How did language? These authors maintain a tradition initiated by Joseph Addison, Edmund Burke, Immanuel Kant, and Adam Smith, towering 18th-century figures who adapted the literary sublime first to nature, then to science--though with one crucial difference: religion has been replaced wholly by science. In a final chapter, Gross explores science's attack on religion, an assault that attempts to sweep permanently under the rug two questions science cannot answer: What is the meaning of life? What is the meaning of the good life?

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34

Myskja, Bjorn K. The Sublime in Kant and Beckett: Aesthetic Judgement, Ethics and Literature (Kantstudien-Erganzungshete). Walter De Gruyter Inc, 2001.

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35

Pillow, Kirk. Sublime Understanding: Aesthetic Reflection in Kant and Hegel (Studies in Contemporary German Social Thought). The MIT Press, 2003.

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36

Pillow, Kirk. Sublime Understanding: Aesthetic Reflection in Kant and Hegel (Studies in Contemporary German Social Thought). The MIT Press, 2000.

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37

Raymond, Claire. Francesca Woodman and the Kantian Sublime. Taylor & Francis Group, 2016.

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38

The Kantian Sublime: From Morality to Art (Oxford Philosophical Monographs). Oxford University Press, USA, 1991.

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39

Boehm, Omri. Kant and Spinoza Debating the Third Antinomy. Edited by Michael Della Rocca. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195335828.013.23.

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If Kant wanted to combat dogmatism—if he wanted to deny knowledge in order to make room for freedom and faith—he must have taken Spinoza seriously. In considering the case of the third Antinomy, the chapter argues, contrary to the prevalent view, that he did. The first part of the chapter challenges the historical pieces of evidence (allegedly) supporting the conclusion that Kant never engaged with Spinoza in the first Critique. The second part considers the third Antinomy, arguing that its Antithesis, eliminating freedom by invoking the Principle of Sufficient Reason, articulates a Spinozist position—not a Leibnizian one, as is commonly assumed. The third part explores the chief Spinozist challenge to the Antinomy, drawing on Spinoza’s understanding of infinity, freedom, and adequate ideas. The conclusion defends Kant’s position by confronting Spinoza’s position on infinity and freedom with Kant’s account of the sublime.

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40

Lloyd, David. Under Representation. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823282388.001.0001.

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Under Representation argues that the relation between the concepts of universality, freedom and humanity, and the racial order of the modern world is grounded in the founding texts of aesthetic philosophy. It challenges the absence of sustained thought about race in postcolonial studies and the lack of attention to aesthetics in critical race theory. Late Enlightenment discourse on aesthetic experience proposes a decisive account of the conditions of possibility for universal human subjecthood. The aesthetic forges a powerful racial regime of representation whose genealogy runs from enlightenment thinkers like Kant and Schiller to late modernist critics like Adorno and Benjamin. For aesthetic philosophy, representation is an activity that articulates the various spheres of human practice and theory, from the most fundamental acts of perception and reflection to the relation of the subject to the political, the economic, and the social. Representation regulates the distribution of racial identifications along a developmental trajectory: the racialized remain “under representation,” on the threshold of humanity and not yet capable of freedom and civility as aesthetic thought defines those attributes. To ignore the aesthetic is thus to overlook its continuing force in the formation of the racial and political structures down to the present. In its five chapters, Under Representation investigates the aesthetic foundations of modern political subjectivity; race and the sublime; the logic of assimilation and the sterotype; the subaltern critique of representation; and the place of magic and the primitive in modernist concepts of art, aura, and representation.

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