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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. Mimesis, 2011.

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2

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

Le sublime anomique: Le renversement de l'histoire de Kant à Lyotard. 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. Edwin Mellen Press, 1995.

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12

Catena, Maria Teresa. Orientamento e disorientamento: Il sublime come luogo sistematico della filosofia di Kant. 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. L'Harmattan, 1998.

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14

Francesca Woodman and the Kantian sublime. Ashgate, 2009.

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15

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

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16

Leçons sur l'Analytique du sublime: Kant, critique de la faculté de juger, [Sections] 23-29. 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. Königshausen & Neumann, 2007.

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18

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

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19

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

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20

Kant's theory of taste: A reading of the Critique of aesthetic judgment. 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

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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

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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

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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.

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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

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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 enlightenm

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