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Journal articles on the topic 'Belo e Sublime - Kant'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Mattos, Rafael da Silva. "Uma analítica da beleza corporal: notas a partir de Kant." Conexões 8, no. 2 (July 23, 2010): 47–67. http://dx.doi.org/10.20396/conex.v8i2.8637740.

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Ao escrever sua obra “Crítica da Faculdade do Juízo”, Kant faz uma analítica do belo e do sublime. Esse artigo tem por objetivo discutir a beleza corporal na atualidade à luz do referencial teórico e conceitual kantiano. Trata-se de compreender se as expressões “belo” e “sublime” se aplicam a beleza corporal, tema presente no cotidiano dos profissionais de Educação Física, em especial nas academias de ginástica e musculação. A Educação Física como prática social produtora de conhecimento e de saberes torna-se parceira da Filosofia, disciplina criadora de conceitos, para pensar e refletir sobre o corpo na atualidade.

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2

Salviano, Jarlee Oliveira Silva. "Complacência estética e satisfação do querer na metafísica do belo de Schopenhauer." Voluntas: Revista Internacional de Filosofia 10, no. 3 (December 18, 2019): 190. http://dx.doi.org/10.5902/2179378639300.

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Seguindo os passos de Kant, Schopenhauer erige sua Metafísica do belo a partir da concepção de arte “desinteressada”. O conhecimento determinado por motivos proporciona ao espectador da arte o “excitante” e a mera satisfação empírica, mas não o belo ou o sublime. O gênio, representação mais potente e eficaz da subjetividade pura do conhecimento, é descrito no Livro III de O mundo como vontade e representação de modo aparentemente ambíguo: como o Willenlos (isento de vontade), como aquele “livre da tempestade das paixões” e do “ímpeto dos desejos”. Mas, ao mesmo tempo, como aquele “submetido a afetos veementes e paixões irracionais”. No entanto, trata-se, na vivência estética do gênio ou do contemplador da arte, de um prazer desinteressado, de uma complacência de outra ordem que a do homem do senso comum e de ciência. O artigo procura, então, analisar o conceito de complacência ou satisfação estética em Schopenhauer e seu enraizamento na filosofia de Kant.

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3

Oliveira, Eliezer Cardoso de, Carla Ediene da Silva Alves, and Maria De Fátima Oliveira. "Entre o Sublime e o Belo: As Representações Estéticas Sobre o Rio Araguaia." Historia Ambiental Latinoamericana y Caribeña (HALAC) revista de la Solcha 8, no. 1 (November 20, 2018): 114–35. http://dx.doi.org/10.32991/2237-2717.2018v8i1.p114-135.

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O objetivo deste artigo é analisar as representações estéticas sobre o Rio Araguaia. A hipótese é que as narrativas de cunho estético sobre o rio, vigentes no século XIX até a primeira metade do século XX, valiam-se da estética do sublime; após a segunda metade do século XX, quando a natureza tornou-se, para utilizar uma expressão de Anthony Giddens, humanizada, os relatos estéticos sobre o rio realçaram a beleza bucólica. A reflexão sobre o belo e o sublime apoiou-se nos textos de Edmund Burke e Emmanuel Kant; sobre a representação da natureza, utilizou textos de Georg Simmel e Keith Thomas. As fontes para a análise das representações foram relatos (como os de Conde de Castelnau, Couto de Magalhães, Jacintho Lacomme e Hermano Ribeiro da Silva) e canções sobre o rio Araguaia (compostas por Tião Carreiro e Pardinho, Irmãs Freitas, Marcelo Barra e Amauri Garcia).

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4

Cunha, Bruno. "A demanda racional da ética de Kant no início de 1760." ethic@ - An international Journal for Moral Philosophy 16, no. 2 (December 11, 2017): 219–42. http://dx.doi.org/10.5007/1677-2954.2017v16n2p219.

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Meu objetivo nesse trabalho é apresentar uma linha distinta de interpretação do problema moral em duas das principais obras do jovem Kant, a saber, a Investigação sobre a Evidência e as Observações sobre o Sentimento do Belo e do Sublime. Em contraposição à leitura tradicional, tento mostrar que, ao analisar a relação entre os aspectos formais e materiais da moralidade, somos capazes de constatar que existe, de fato, uma demanda racional subjacente ao problema ético nesse contexto. Isso mostra, por conseguinte, que ao invés de representar uma mera reprodução da moral britânica, esses escritos retratam um momento de transição no qual Kant se liberta em grande medida da influência escolástica, para investigar mais profundamente o conceito primário de obrigação moral.

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5

Feldhaus, Charles. "Kant, Schiller e a virtude em observações sobre o sentimento do belo e do sublime." Conjectura filosofia e educação 22, especial (November 16, 2017): 49–58. http://dx.doi.org/10.18226/21784612.v22.n.especial.04.

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6

Mansur, Juan Carlos. "PRINCIPIOS PRECRÍTICOS Y CRÍTICOS DEL PENSAMIENTO DE EMMANUEL KANT." Tópicos, Revista de Filosofía 36, no. 1 (November 28, 2013): 67. http://dx.doi.org/10.21555/top.v36i1.127.

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Este artículo muestra los principios precríticos de la belleza en el pensamiento de Kant para comprender su principal contribución a la teoría de lo bello. Estos principios no se encuentran en las Observaciones sobre el sentimiento de lo bello y lo sublime, sino en la primera y segunda críticas, que ubican el sentimiento de placer y dolor en la facultad de la sensación y no la del Juicio, y en la Historia Natural y teoría de los cielos que considera la belleza como la perfección del objeto dado por una inteligencia suprema, y no por una unidad ideal proporcionada por el juicio reflexivo.

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7

De Figueiredo, Vinicius. "Dois momentos do cosmopolitismo kantiano." ethic@ - An international Journal for Moral Philosophy 19, no. 2 (September 21, 2020): 193–208. http://dx.doi.org/10.5007/1677-2954.2020v19n2p193.

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Nesse artigo, busco investigar dois momentos da concepção kantiana de cosmopolitismo. Primeiramente, como ela aparece nas Observações sobre o sentimento do belo e do sublime (1764) e, em seguida, como é retomada em Ideia de uma história universal de um ponto de vista cosmopolita (1784). Argumento que nesses dois textos há um nexo entre cosmopolitismo e história e que esse vínculo opera sob o fundo da metafísica especial. Atestada pela ideia especulativa de totalidade, pertencente à cosmologia racional, a articulação entre cosmopolitismo e metafísica especial termina por evocar a teologia racional, devido ao uso que Kant dá à “natureza” como a autora de um plano orientado para realizar a destinação moral da humanidade. Após examinar o estatuto dos argumentos teológicos nas Observações e na Ideia de uma história universal, procuro apontar as diferenças da concepção kantiana de cosmopolitismo nesses dois escritos.

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8

Borges, Bento Itamar. "O (mau) gosto e o grotesco." Veritas (Porto Alegre) 50, no. 2 (July 1, 2004): 166. http://dx.doi.org/10.15448/1984-6746.2004.2.34562.

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Nosso estudo explora a força crítica do grotesco, que teve na obra de Wolfgang Kayser (1957) abordagem pioneira, entre a literatura e a pintura. O fenômeno é anterior ao séc. XV, quando se tornou o estilo dominante de ornamentação, mas sob influência de elementos oníricos e da commedia dell’arte seria elevado à categoria estética. As observações pré-críticas de Kant sobre o belo e o sublime não equacionam grotesco e mau gosto. Victor Hugo, no prefácio de sua peça sobre Cromwel, defende o grotesco, através de motivos modernos, ou seja, românticos e cristãos, ao passo que, para Jennings, “o grotesco é o demoníaco trivializado”. No Brasil colonial, Gregório de Matos Guerra inocou com suas sátiras, que bem representam o rebaixamento, traço fundamental do gênero que, de certa forma, sobrevive na atual comunicação de massas, misturado ao Kitsch.

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9

Peñuela, Jorge Edilberto. "Filosofía de lo bello en Kant." Revista científica, no. 9 (November 30, 2006): 29. http://dx.doi.org/10.14483/23448350.352.

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Kant proporciona a la Modernidad sus fundamentos teóricos y ello lo convierte en uno de los pensadores más relevantes del siglo XVIII. S u pensamiento se ha extendido a lo largo y ancho de la cultura europea, de manera que su legado ejerció influencia en todos aquellos que tuvieron acceso a su universo conceptual y en todos nosotros que hemos recogido su pensamiento en el mundo contemporáneo. El propósito de este ensayo es desglosar algunos conceptos de la filosofía del arte de Kant, en especial su reflexión sobre lo bello y el gusto. La actividad de nuestras facultades cognitivas son estimuladas para la formulación de un juicio, una vez hemos experienciado la presencia de lo bello, ya sea en la naturaleza o en el arte. Lo bello ha dejado de ser un concepto metafísico y se ha convertido en el registro de una actividad del entendimiento humano que, por medio de juicios de gusto, modela un sentimiento de comunidad. Las reflexiones de Kant buscaron liberarse del influjo de la metafísica tradicional; para ellop trazó límites al entendimiento y la razón. El pensamiento teocéntrico que aún regía algunas reflexiones sobre el arte distorsionaba la comprensión de las prácticas artísticas y el aporte del entendimiento humano a la conformación del sentimiento de lo bello. En su teoría sobre lo bello se entretejen planos cognoscitivos y metafísicos, científicos y morales, el entendimiento y la razón se encuentran en el pensamiento artístico. Kant ha leído autores importantes de su siglo como Edmund Burke y David Hume, decanta sus reflexiones sobre la imaginación,. el entendimiento, la poesía, el gusto, lo bello, lo sublime, el placer, entre otras, y la incorpora a su propuesta. En su opinión, la experiencia artística modela un sentimiento que sirve de puente entre dominios antagónicos como son la moral y la ciencia. Muestra cómo los diversos temas que conforman la experiencia artística pueden someterse progresivamente a un ordenamiento sistemático dentro de un conbtexto crítico- teórico. Gracias al ejercicio de la razón, la tarea del filósofo radica esencialmente en observar,experimentar y describir aquellos fenómenos llamados estético, usando como metodología la técnica de la experiencia, valorando la sensibilidad, el sentido común, la imaginación, la memoria, los sentimientos y la operatividad de la razón. Kant decide afrontar el reto de revisar minuciosamente la tradición conceptual que da cuenta de la experiencia artística, analiza los estímulos y las facultades intelectuales que intervienen en la conformación del gusto como origen de la experiancia del arte; explica el placer y el dolor que esta última suscita en el espectador; reconfigura el lugar que le corresponde al sentimiento de lo bello, lo sublime y lo grotesco en la sociedad; establece las pautas que regulan la actividad del artista o el genio; ordena la experiencia del arte en relación con otras esferas del espíritu, tomando en cuenta la spautas y límites que ha concebido para ellas en sus obras anteriores; finalmente, explica el gusto como la facultad que juzga lo bello. Este sólo es comprensible medianyte un juicio de gusto. Las condiciones de posibilidad de la expèriencia estética son determinadas por la faculñtad de juzgar;un análisis de está nos pone camino para comprender la experiencia de lo bello y su papel en la conformación de la unidad de la conciencia y los sentimientos de comunidad. Sin la experiencia estética, diominios fundamentales de la experiencia humana, como el moral y científico, permanecerían aislados, fragmentando al ser humano.

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Pérez, Enrique Rodríguez. "De la estética subjetiva a la condición interpretativa: entre Kant y heidegger." Análisis, no. 75 (April 6, 2015): 209. http://dx.doi.org/10.15332/s0120-8454.2009.0075.08.

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<p>Al establecer una relación entre la estética kantiana y la perspectiva hermenéutica heideggeriana se percibe un replanteamiento de la concepción del mundo y del ser humano que permite establecer semejanzas y contrastes. Las reflexiones sobre el arte en Kant, en la Crítica del Juicio, dejan ver fisuras en todo el sistema: los sentimientos de lo bello y lo sublime al poner en juego las facultades desestabilizan el sistema. Desde la mirada de Heidegger, estas fisuras llevan al giro interpretativo. El mundo se constituye en una relación distinta, sin sujeto, como relación entre cielo y tierra, divinidades y mortales. El ser humano, que ya no es sujeto, se sostiene en su propia mortalidad como evento de ausencia, sin fundamentos. Este es un modo del desplazamiento histórico de la modernidad racional al pensamiento posmetafísico.</p>

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11

Cabrera Espinosa, Claudia. "Lo bello, lo sublime y lo siniestro en “Fragmento de un diario”, de Amparo Dávila." Revista Valenciana. Estudios de filosofía y letras, no. 26 (June 6, 2020): 7–32. http://dx.doi.org/10.15174/rv.vi26.498.

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La obra de la escritora mexicana Amparo Dávila (1928) ha sido leída y estudiada de manera intermitente durante los últimos sesenta años. Gracias a la edición del Fondo de Cultura Económica de sus Cuentos reunidos, de 2009, la autora zacatecana ha obtenido nuevos lectores. Asimismo, durante la última década la crítica nacional e internacional se ha interesado nuevamente por su narrativa. No obstante, poco se ha explorado el vínculo entre sus relatos y la filosofía. Este trabajo propone establecer un diálogo entre “Fragmento de un diario”, uno de los cuentos que conforman Tiempo destrozado (1959), y la filosofía de Immanuel Kant, Longino y Eugenio Trías en torno a lo bello, lo sublime y lo siniestro, considerando también las aportaciones de Sigmund Freud acerca de lo ominoso.

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12

Silenzi, Marina. "EL JUICIO ESTÉTICO SOBRE LO BELLO. LO SUBLIME EN EL ARTE Y EL PENSAMIENTO DE KANDINSKY." Andamios, Revista de Investigación Social 6, no. 11 (August 16, 2009): 287. http://dx.doi.org/10.29092/uacm.v6i11.161.

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La crítica del juicio es una obra fundamental en la historia del arte, ya que en ésta Kant desarrolla las dos categorías que marcan una gran división. La categoría de lo bello predomina en el paradigma clásico; la representación como forma determinada rige en la composición de la obra. La categoría de lo sublime quiebra con el límite impuesto por la forma, dejando que fluyan los sentimientos más profundos del ser humano.Kandinsky es el primero en sobrepasar la forma para adentrarse en la abstracción como un medio más puro de expresión, y plasmar en el soporte material el “elemento interior”. Su obra se aleja de la categoría de belleza subsumida a una representación prototípica y se asienta en la sublimidad.

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13

Tillería Aqueveque, Leopoldo. "Kant: Lo sublime teológico." Letras (Lima) 92, no. 135 (June 30, 2021): 203–13. http://dx.doi.org/10.30920/letras.92.135.15.

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Se sugiere la recepción de lo sublime kantiano como un sentimiento inopinadamente religioso, en otras palabras, como una estética teológica. De cara a la tercera Crítica, y con la precisión de un relojero, el viejo Kant parece equilibrar las nuevas condiciones cosmológicas, religiosas y metafísicas a las que se enfrenta el hombre barroco con la necesidad propiamente teológica de no excluir a Dios de su proyecto filosófico. De este modo, la estética kantiana se revela como fuente de lo religioso, precisamente, a partir del contacto práctico del sujeto con la idea de la divinidad. En esta región, el sujeto pensante encuentra un más allá indeterminado en el que alcanza a tocar, o, si se quiere, sentir la omnipotencia e inmensidad de Dios. Mediante la labor propedéutica de la Analítica de lo sublime, la Crítica de la facultad de juzgar vendría a completar el camino teológico trazado en la segunda Crítica por la razón pura práctica. De manera subrepticia, lo sublime teológico expondría, por un lado, la insistencia de Kant en no abjurar de su férreo puritanismo, y, por otro, su decisión de no ceder ni a la desesperación intelectual ni al terror metafísicoque supone la expulsión de Dios del ámbito de la razón.

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14

Richardson, Janice. "Spinoza, Kant and the sublime." Textual Practice 33, no. 5 (March 2019): 839–57. http://dx.doi.org/10.1080/0950236x.2019.1581688.

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Crebs, Francie. "Kant vs. Cant: Poe’s material sublime." Textual Practice 33, no. 10 (September 24, 2019): 1723–37. http://dx.doi.org/10.1080/0950236x.2019.1665922.

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16

Cvejic, Igor. "The violent intentionality of sublime." Theoria, Beograd 62, no. 2 (2019): 53–68. http://dx.doi.org/10.2298/theo1902053c.

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The main question in this paper is if (and how) in Kant?s theory of sublime the object could be integrated into an emotional experience. In order to understand this problem, the ambivalent Kant?s claims will be addressed: (1) about the object as sublime and (2) that correctly understood it is not an object, but the state of the subject which is sublime. The latter thesis could be even strengthened with accompanying claim about formlessness of the object, which implies that this object can not be a part of conscious experience. Further, I will discuss Kant?s thesis about a subreption of a respect for the object instead of for the idea of humanity in our subject, as well as various interpretations of it. In the final part of the paper, I will introduce alternative interpretation which could give us a more plausible outline about the intentionality of the feeling of sublime. My claim is that Kant uses language available to him in order to state that in sublime there is no object of cognition in conscious experience. However, the object is constituted as an object of the violent emotional intentionality - sensibility brought under ideas of reason.

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Draskic-Vicanovic, Iva. "Mathematically and dynamically sublime in fine arts." Theoria, Beograd 64, no. 2 (2021): 121–31. http://dx.doi.org/10.2298/theo2102121d.

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Taking into account the intriguing fact that Kant in his Critique of Judgment, when the category of sublime in arts is concerned, mentions the examples of the sublime in art just in the field of fine arts, specifically - architecture, and only in the context of mathematically sublime, author organizes research in this text in two directions, i.e. raises two important questions: 1 ) What are the possible philosophical reasons why Kant does so and 2) Is it, if at all, and by what means, possible to discuss dynamically sublime in the fine arts.

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18

Vandenabeele. "The Sublime in Art: Kant, the Mannerist, and the Matterist Sublime." Journal of Aesthetic Education 49, no. 3 (2015): 32. http://dx.doi.org/10.5406/jaesteduc.49.3.0032.

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19

McShane, Brendan. "The Sublime and Human Creations." Con Texte 1, no. 1 (December 31, 2017): 7–13. http://dx.doi.org/10.28984/ct.v1i1.90.

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Immanuel Kant pre-emptively excludes all man-made contrivances from his definition of the sublime. The limitations of human creation and the purposiveness in its design preclude it from consideration from both mathematical and dynamic sublimity. At best, human creation is “second-order” or “impurely” sublime. This paper thoroughly considers this assertion and searches for possible exceptions, both hypothetical and extant. It implies that humankind may be a nearing a point where it is able to create a pure example of the sublime, as defined by Kant.

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20

Moore, Thomas. "Kant’s Deduction of the Sublime." Kantian Review 23, no. 3 (August 21, 2018): 349–72. http://dx.doi.org/10.1017/s1369415418000183.

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AbstractIn the third Critique, Kant collapses his deduction of the universal validity of judgements of sublimity into his exposition of such judgements, a decision called into question by commentators. I defend Kant on this score, explaining how the exposition of judgements of sublimity serves as their deduction. Kant’s key move is his claim that natural objects are not, strictly speaking, sublime. I argue that ideas of reason, on Kant’s view, are the only truly sublime objects and show how this allows him to establish that the imaginations of all observers operate in the same way in experiences of sublimity.

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Dumouchel, Daniel. "Esthétique et moralité selon Kant. Le cas du sublime." Dialogue 32, no. 2 (1993): 329–46. http://dx.doi.org/10.1017/s0012217300014475.

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La parution d'un ouvrage entièrement consacré à la théorie kantienne du sublime mérite d'être saluée avec un certain enthousiasme, a fortiori lorsqu'il provient de la tradition anglo-saxonne, où la question du sublime est généralement considérée comme une «erreur» dont la théorie esthétique de Kant gagnerait à être expurgée. Paul Crowther remarque d'entrée de jeu que le regain d'intérêt pour l'esthétique de Kant qui s'est fait sentir dans le monde anglo-saxon depuis les années soixante-dix s'est concentré presque exclusivement sur les questions de la beauté et de l'art, au détriment du sublime. Paul Guyer avait prétendu fixer les raisons de cet ostracisme: d'abord, le sentiment du sublime est selon lui inconciliable avec l'explication fondamentale que donne Kant de la «réponse esthétique» en général en termes d'harmonie de l'imagination et de l'entendement; ensuite, la discussion du sublime minimiserait l'importance de 1'intersubjectivité esthétique, qui constitue selon lui l'essentiel de la théorie esthétique kantienne comprise comme une théorie du «goût»; et finalement, la discussion kantienne du sublime ne posséderait plus qu'un intérêt historique, qui ne saurait rencontrer nos sensibilités esthétiques modernes, tandis que nous aurions au contraire beaucoup à apprendre de la discussion des jugements sur la beauté (1979, p. 399 sq.). Or, c'est précisément d'une nouvelle sensibilité à l'endroit du sublime, qui se ferait sentir depuis les années quatre-vingt, que se réclame Crowther pour justifier son entreprise théorique (p. 2).

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22

LACAPRA, DOMINICK. "KANT, BENJAMIN, PENSKY AND THE HISTORICAL SUBLIME." Philosophical Forum 41, no. 1-2 (March 2010): 175–79. http://dx.doi.org/10.1111/j.1467-9191.2009.00357.x.

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23

Baker, Eric. "Fables of the Sublime: Kant, Schiller, Kleist." MLN 113, no. 3 (1998): 524–36. http://dx.doi.org/10.1353/mln.1998.0036.

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Recki, Birgit. "Kant on Religious Feelings - An Extrapolation." European Journal for Philosophy of Religion 6, no. 3 (September 23, 2014): 85–99. http://dx.doi.org/10.24204/ejpr.v6i3.164.

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The religious feeling considered in this paper is the feeling of awe that can be construed in the extrapolation of the feeling of respect for the law. The latter itself can be better understood in analogy to the feeling of the sublime. Hence the thesis of my interpretation and extrapolation is: a characterization of the religious feeling in Kant’s critiques of reason and their analyses of feelings is possible. It has to be understood in analogy to the feeling of respect for the law and thus to the feeling of the sublime. The religious feeling would, as certain formulations suggest, refer to awe of the inconceivable size of God. The religious feeling of awe would also be a feeling caused by reason – an instance of a judgement-based feeling. The respective judgement is a reflexive judgement, an achievement of the reflecting faculty of judgement. The religious feeling would resemble Schleiermacher’s ‘plain feeling of dependence’, but given the analogy with the dialectics of the sublime, it would also include the complementary component of self-elevation.

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Jansen, Kasper Hertz. "Æstetiske forudsætninger for Oplysningen hos Kant." Studier i Pædagogisk Filosofi 3, no. 2 (March 31, 2015): 21. http://dx.doi.org/10.7146/spf.v3i2.20404.

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<p>Immanuel Kant's ‘Critique of Judgment’ is often read either in terms of art appreciation or teleology. In this paper however, the object is to examine the ‘Critique of Judgment’, especially the concepts of the Beautiful and the Sublime, in relation to the Kantian version of the Enlightenment. The main theses in the paper are as following: That Beauty can provide us with the sensuous experience of the possibility of the moral law and that the Sublime can provide us with the sensuous experience of the possibility that we as rational beings can effectuate the actual existence of the moral law.</p>

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Draskic-Vicanovic, Iva. "At the very edge of the abyss of subjectivity: Kant’s concept of the sublime." Theoria, Beograd 63, no. 3 (2020): 151–58. http://dx.doi.org/10.2298/theo2003151d.

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In this text the concept of the sublime is recognized as one of the most important in Kant?s philosophy. In the first part the essay deals with the influence of British aestheticians of the Enlightenment on Kant?s theory of the sublime: Addison?s outline of the notion of greatness, Burke?s concept of the sublime and Hutcheson?s definition of beauty as a phenomenological quality of human mind?s experience. In the second part essay focuses on the relations between the aesthetic and the moral from the standpoint of transcendental analysis. Comparing and contrasting key characteristics of judgment of beauty and judgment of sublime author examines the boundaries of this method. In author?s opinion, transcendental analysis, when the concept of the sublime is concerned, reaches its highest point, that is to say, it has been brought to the very edge of the abyss of subjectivity.

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Lichtenstein, Eli I. "Sensory Force, Sublime Impact, and Beautiful Form." British Journal of Aesthetics 59, no. 4 (August 15, 2019): 449–64. http://dx.doi.org/10.1093/aesthj/ayz033.

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Abstract Can a basic sensory property like a bare colour or tone be beautiful? Some, like Kant, say no. But Heidegger suggests, plausibly, that colours ‘glow’ and tones ‘sing’ in artworks. These claims can be productively synthesized: ‘glowing’ colours (etc.) are not beautiful; but they are sensory forces—not mere ‘matter’, contra Kant—with real aesthetic impact. To the extent that it inheres in sensible properties, beauty is plausibly restricted to structures of sensory force. Kant correspondingly misrepresents the relation of beautiful wholes to their parts. Beautiful form is not extrinsic to sensory force. Sensible beauty is just the holistic impact of agonistically-interacting sensory forces. When sensory forces interact hierarchically, their collective impact is closer to the sublime, in quality if not degree. The simplest sensory experience of sublimity is just the impact of radically intensified sensory forces, similar in kind if not degree to the individual ‘singing’ tones in a beautiful melody.

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Mathäs, Alexander. "Keeping Narcissism at Bay: Kant and Schiller on the Sublime." Konturen 3, no. 1 (December 28, 2010): 19. http://dx.doi.org/10.5399/uo/konturen.3.1.1371.

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This essay considers the sublime as a veiled form of narcissism. Both narcissism and the sublime test and reveal the limits of the concept of the self and both can be viewed as attempts to transcend the borders of the self. Yet while narcissism has been defined as a “failure of spiritual ascent” (Hadot), the sublime has been used to transcend the limitations of the self by pointing to its infinite potential. The essay explores how the sublime in Immanuel Kant’s and Friedrich Schiller’s aesthetics relies on narcissistic impulses by creating a male inner self and protecting it from the stigma of vanity. I propose that their use of this aesthetic category helped objectify an essentially subjectivist aesthetics. Yet while Schiller follows Kant in deriding the sensual aspects of human nature as egotistical and amoral, Schiller’s dramas also challenge some of the Kantian premises. When Schiller’s protagonists sacrifice lives in the service of ethical ideas, the sublime’s oppressive spirit reveals itself.

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Cvejic, Igor. "Can there be a negative aesthetic judgement on sublime?" Theoria, Beograd 63, no. 4 (2020): 175–87. http://dx.doi.org/10.2298/theo2004175c.

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When we talk about the aesthetic judgement in Kant, certainly the main example is the judgement of taste, that is, beautiful and ugly. However, in addition to the judgement of taste, Kant speaks of another kind of aesthetic reflexive judgments - sublime. The main question addressed in this paper is whether in the case of the sublime we can speak of a negative aesthetic judgment, a judgment of what would be contrary to the sublime in the way that the ugly is opposite to the beautiful. After considering the similarities and differences of the ugly and sublime and outlining the formal problems of thinking at all about the aesthetic judgment of what is contrary to sublime, we will try to give a positive answer. The content (object) argument will be considered first, then the argument based on the relation of faculties, which will prove to be insufficient. The closest solution will be to consider in the specific kind of ridiculous.

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Carvalho, Zilmara de Jesus Viana de, and Danielton Campos Melonio. "A divisão das belas artes: Kant e Hegel." Griot : Revista de Filosofia 18, no. 2 (December 16, 2018): 198–216. http://dx.doi.org/10.31977/grirfi.v18i2.979.

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O presente artigo aborda numa perspectiva filosófica a relação entre a divisão das artes belas propostas por Kant e Hegel. Objetiva explicitar as aproximações e distanciamentos entre a divisão das belas artes apresentadas pelos filósofos citados, apontando suas semelhanças e diferenças. Fundamenta sua análise nas obras Crítica da Faculdade do Juízo de 1790 e Cursos de Estética de 1820-21, respectivamente elaboradas por Immanuel Kant e Friedrich Hegel. Realiza uma análise comparativa entre a divisão das artes belas kantiana e hegeliana. Apresenta inicialmente a divisão das artes belas na perspectiva kantiana, abordando o conceito de arte bela, sua classificação e sua hierarquia, segundo o filósofo de Königsberg. Em seguida, expõe a divisão das artes segundo Hegel, apresentando o seu conceito de belo artístico, as formas de arte simbólica, clássica e romântica, expondo e analisando também as artes particulares de acordo com o filósofo de Stuttgart. Conclui afirmando que, apesar das diferenças entre ambas análises sobre a divisão das belas artes, tais como a defesa de Hegel em relação belo artístico e a de Kant ao belo natural, a afirmação hegeliana que há uma ciência do belo enquanto a concepção kantiana é de que não há ciência do belo, por exemplo, os filósofos em destaque concordam, entre outros aspectos, que a poesia ocupa o lugar mais alto na hierarquia das belas artes, sendo a mais livre e espiritual delas.

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Lüdke Rossetti, Micaela. "Burke, Kant e Lyotard: reflexões acerca do sublime." Palíndromo 6, no. 12 (January 15, 2015): 22–40. http://dx.doi.org/10.5965/2175234606122014022.

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Ferguson, Frances. "Reflections on Burke, Kant, andSolitude and the Sublime." European Romantic Review 23, no. 3 (June 2012): 313–17. http://dx.doi.org/10.1080/10509585.2012.674261.

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Berrios, R. "Sublime Understanding: Aesthetic Reflection in Kant and Hegel." British Journal of Aesthetics 43, no. 4 (October 1, 2003): 422–24. http://dx.doi.org/10.1093/bjaesthetics/43.4.422.

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Zammito, John H. "A Philosophical Reconstruction of the Sublime." Journal of the Philosophy of History 13, no. 1 (March 5, 2019): 129–37. http://dx.doi.org/10.1163/18722636-12341365.

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Abstract Robert Doran claims that the sublime is all about transcendence transferred from the religious to the aesthetic domain of experience. Taken in this philosophical rather than stylistic sense, it proved crucial for the development of modern subjectivity. Doran traces the issue from Longinus through the decisive reception of Nicolas Boileau, who first distinguished le sublime from le style sublime, on to an extended engagement with Immanuel Kant. In all this he seeks its place in the rise of the modern bourgeois subject. The social-historical connections tend to be a bit overstated, first, with regard to Boileau and the idea of the honnête homme, and especially with the claim that “Burke treats aesthetic concepts as proxies for sociopolitical categories.” It is not fruitful for an understanding of Kant, either. This weakens his powerful argument for the philosophical significance of the sublime in modern thought.

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Adriano Carlos, Luís. "RUY BELO: GÉNIO E SUBLIME NA POESIA PORTUGUESA CONTEMPORÂNEA." CAURIENSIA. REVISTA ANUAL DE CIENCIAS ECLESIÁSTICAS 15 (2020): 691–712. http://dx.doi.org/10.17398/2340-4256.15.691.

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Jeremic-Molnar, Dragana, and Aleksandar Molnar. "Debate on sublime in the end of 18th century: Burke, Kant, Schiller." Filozofija i drustvo 20, no. 1 (2009): 143–58. http://dx.doi.org/10.2298/fid0901143j.

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In the article the authors are examining three positions within the 18th Century aesthetic discussion on the sublime - Edmund Burke's, Immanuel Kant's and Friedrich Schiller's. They are also trying to reconstruct the political backgrounds of each of this theoretical positions: old regime conservatism (Burke), republican liberalism (Schiller) and romantic longing for the 'third way' (Kant). The most sophisticated and mature theory of sublime is found in Schiller's aesthetic works, especially in those following his disappointment in French Revolution, in which the relationship between sublime and paradoxes of historical violence is most thoroughly reflected.

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Socha, Eduardo. "Uso mercantilizado do belo e o sublime: notas sobre Imitação da vida (2013), de Mathias Poledna." Revista Limiar 6, no. 12 (November 21, 2019): 3–19. http://dx.doi.org/10.34024/limiar.2019.v6.9993.

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O ensaio procura apresentar inicialmente as condições materiais que, segundo a interpretação de Fredric Jameson, propiciaram a transição, a partir do final dos anos 1960, de uma estética do sublime para uma estética funcional do belo como orientação dominante da produção artística. Em seguida, expõe aspectos da analítica kantiana do sublime que vinculam o sublime à concepção do moderno. Por fim, verifica a tensão entre a situação descrita por Jameson e o sublime kantiano a partir de considerações sobre a instalação Imitation of life, de Mathias Poledna, a única obra apresentada no pavilhão austríaco da Bienal de Veneza de 2013.

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Zepke, Stephen. "The Sublime Conditions of Contemporary Art." Deleuze Studies 5, no. 1 (March 2011): 73–83. http://dx.doi.org/10.3366/dls.2011.0008.

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

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Winegar, Reed. "An Unfamiliar and Positive Law: On Kant and Schiller." Archiv für Geschichte der Philosophie 95, no. 3 (September 2013): 275–97. http://dx.doi.org/10.1515/agph-2013-0012.

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Abstract: A familiar post-Kantian criticism contends that Kant enslaves sensibility under the yoke of practical reason. Friedrich Schiller advanced a version of this criticism to which Kant publicly responded. Recent commentators have emphasized the role that Kant’s reply assigns to the pleasure that accompanies successful moral action. In contrast, I argue that Kant’s reply relies primarily on the sublime feeling that arises when we merely contemplate the moral law. In fact, the pleasures emphasized by other recent commentators depend on this sublime feeling. These facts illuminate Kant’s views regarding the relationship between morality, freedom, and the development of moral feelings.

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Zuckert, Rachel. "Kant’s Account of the Sublime as Critique." Kant Yearbook 11, no. 1 (October 21, 2019): 101–20. http://dx.doi.org/10.1515/kantyb-2019-0006.

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Abstract Kant’s account of the sublime in the Critique of Judgment has been extremely influential, prompting extensive discussion of the psychology, affect, moral significance, and relevance to artistic representation of the sublime on his provocative view. I focus instead on Kant’s account of the mathematical sublime in connection to his theoretical critical project, namely his attempt to characterize human cognitive powers and to limit human pretensions to knowledge of the supersensible. I argue, first, that his account of the psychology of the sublime is designed to explain not just its affective character (its displeasure-pleasure), but also to address challenges concerning the coherence of an experience of something as transcending one’s cognitive abilities. Thereby, I argue moreover, Kant provides an alternative, demystifying account of mystical experiences, in which humans might take themselves to intuit that which is beyond human understanding or reason, and thus to claim that they have special cognitive access to the supersensible, transcending the limits Kant claims to establish for human cognition. Kant’s account of the mathematical sublime is not merely so reductive of mystical experience, however; it also, I suggest, describes the aesthetic of Kantian critique itself.

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Murcia Serrano, Inmaculada. "De Dios y lo sublime." Anales del Instituto de Investigaciones Estéticas 30, no. 93 (August 7, 2012): 137. http://dx.doi.org/10.22201/iie.18703062e.2008.93.2272.

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En uno de sus textos más influyentes, el teólogo protestante Rudolf Otto establece una relación entre lo numinoso, un excedente significativo de lo santo, y lo sublime, categoría extraída de la estética. Considera además que esta relación puede rastrearse en la filosofía crítica de Kant, en cuya obra, la Crítica del juicio, entrevé ya dicha correspondencia. Este artículo indaga a fondo en esa supuesta correspondencia entre lo sublime y lo numinoso estableciendo, a partir de la estética kantiana, en qué aspectos se parecen y en cuáles difieren

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Feloj, Serena. "Il sublime e la Erste Einleitung alla critica del giudizio." PARADIGMI, no. 2 (August 2012): 167–80. http://dx.doi.org/10.3280/para2012-002012.

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L'articolo sostiene, sulla base di ciň che Kant scrive nella Erste Einleitung, che il ruolo del sublime nella Critica del Giudizio puň essere definito mediante l'analisi di tre elementi: il confronto fra ragione e natura, la coesistenza di sensibile e soprasensibile nell'uomo e nella natura e il legame del sublime con il sentimento morale.

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Costa de Freitas, Jan Clefferson, and Jennifer Sarah Cooper. "Sublime Contemplar/Sublime Reverie." Cadernos Cajuína 2, no. 3 (November 19, 2017): 126. http://dx.doi.org/10.52641/cadcaj.v2i3.169.

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<p><strong>Sublime Contemplar </strong></p><p> </p><p>Perfumes ao vento nos prados floridos</p><p>Primavera levando as sementes do sol</p><p>Natureza pintando paisagens coloridas</p><p>Sinfonias de silvos feitas pelo rouxinol</p><p>O rio cantarola as melodias silvestres</p><p>Peixes nadando de felicidade no leito</p><p>Na floresta animais brincando céleres</p><p>Festejam a vida celebrando o infinito</p><p>As árvores verdes vicejam de beleza</p><p>Com frutas deliciosas para saborear</p><p>Subir em cima delas com delicadeza</p><p>E dos seus melhores frutos desfrutar</p><p>Neste belo lugar por tudo agradecer</p><p>Descansar sob os céus cor de laranja</p><p>Ofertar a terra o mais lindo bouquet</p><p>Contemplando a formosura soberana!</p><p> </p><p> </p><p>Jan Clefferson Costa de Freitas – Doutorando em Filosofia: UFPB/UFPE/UFRN</p><p> </p><p> </p><p><strong>Sublime Reverie</strong></p><p><strong><br /></strong></p><p>Fragrant wind of florid grasslands</p><p>Spring brings seeds of sun</p><p>Nature paints landscapes of color</p><p>Symphonies of whistling thrushes</p><p>Wild melodies the river hums</p><p>To the joy of fish splash in the riverbed</p><p>In the forest, animals quick at play</p><p>Life’s Festival celebrating the infinite</p><p>Green trees flourish beauty</p><p>Bear tasty fruit to taste</p><p>Climb them carefully</p><p>& savor their best </p><p>In this lovely place thank everything</p><p>Rest under an orange sky</p><p>Earth throws a dazzling bouquet</p><p>Musing her reigning loveliness!</p><p> </p><p> </p><p>Translated by Jennifer Sarah Cooper, PhD</p><p>Natal, 2017</p>

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de Jonge, Casper C. "The Ancient Sublime(s). A Review of The Sublime in Antiquity." Mnemosyne 73, no. 1 (January 20, 2020): 149–63. http://dx.doi.org/10.1163/1568525x-12342785.

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Abstract The sublime plays an important role in recent publications on Greek and Latin literature. On the one hand, scholars try to make sense of ancient Greek theories of the sublime, both in Longinus’ On the Sublime and in other rhetorical texts. On the other hand, the sublime, in its ancient and modern manifestations presented by thinkers from Longinus to Burke, Kant and Lyotard, has proved to be a productive tool for interpreting the works of Latin poets like Lucretius, Lucan and Seneca. But what is the sublime? And how does the Greek rhetorical sublime in Longinus relate to the Roman literary sublime in Lucretius and other poets? This article reviews James I. Porter, The Sublime in Antiquity: it evaluates Porter’s innovative approach to the ancient sublime, and considers the ways in which it might change our understanding of an important, but somewhat enigmatic concept.

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Oroño, Matías Hernán. "La corporalidad humana en lo sublime matemático de Kant." Nuevo Itinerario, no. 6 (July 9, 2011): 1. http://dx.doi.org/10.30972/nvt.063199.

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Éstas son las palabras que pronuncia el Fausto de Goethe en la primera parte de la tragedia homónima. Se trata de un Fausto decepcionado de la ciencia y de su propia vida dedicada al estudio. Un hombre que no logra saciar su sed con los conocimientos que le brinda su época y decide vender su alma al diablo con el propósito de acceder a lo que hasta entonces le estaba vedado. Pero también se trata de un Fausto que toma conciencia de su propia vulnerabilidad en tanto ser corpóreo que nace y muere. Un gusano que se arrastra a través del polvo y se nutre de él, para finalmente ser aplastado por algún caminante: es decir, por un gusano más grande. Un ser corpóreo que trágicamente toma conciencia de su condición no divina, y por tanto, mortal. Teniendo en cuenta este planteo, puede afirmarse que no fue desatenta la lectura que realizó Goethe de la Kritik der Urteilskraft (KU), pues Kant también se habría percatado de la conciencia del propio cuerpo y del carácter vulnerable de dicha condición en esta obra. Son conocidas las palabras de elogio que Goethe proclamó al leer la tercera Crítica de Kant: “Aquí vi mis diversas ocupaciones colocadas una junto a las otras; arte y producciones naturales una tratada como la otra, discernimiento estético y teleológico se iluminaban uno al otro”

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Finlayson, James Gordon. "Sublime Failures: The Ethics of Kant and Sade (review)." Modernism/modernity 11, no. 3 (2004): 593–96. http://dx.doi.org/10.1353/mod.2004.0056.

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Larrimore, Mark. "Sublime Waste: Kant on the Destiny of the ‘Races’." Canadian Journal of Philosophy Supplementary Volume 25 (1999): 99–125. http://dx.doi.org/10.1080/00455091.1999.10716832.

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Wir dürfen aber den Untergang eines Weltgebäudes nicht als einen wahren Verlust der Natur bedauren. Sie beweiset ihren Reichthum in einer Art von Verschwendung … Der Mensch, der das Meisterstück der Schöpfung zu sein scheint, ist selbst von diesem Gesetze nicht ausgenommen.Immanuel Kant was an early and influential theorist on race. What place a theory of race could have within his system is, however, far from clear. Empirical knowledge about human diversity seems not to be the kind of thing that may find its way into morally acceptable maxims. Kant's understanding of the a priori nature of the moral seems to prevent any account or theory of human difference from leading to prejudice or discrimination. On the other hand, Kant defends race it-self as an a priori concept, and the specific content of his anthropology seems to justify the exclusion of non-whites from moral concern in a new and dangerous way.

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Zuckert, Rachel. "Awe or Envy: Herder contra Kant on the Sublime." Journal of Aesthetics and Art Criticism 61, no. 3 (July 2003): 217–32. http://dx.doi.org/10.1111/1540-6245.00108.

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Oroño, Matías. "Lo sublime dinámico en la tercera Crítica de Kant." Eidos, no. 27 (June 15, 2017): 199–223. http://dx.doi.org/10.14482/eidos.27.9051.

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Figueiredo, Virginia. "O Sublime explicado às crianças." Trans/Form/Ação 34, spe2 (2011): 35–56. http://dx.doi.org/10.1590/s0101-31732011000400004.

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Como o próprio título indica, este ensaio pretende dialogar com a recepção do sublime kantiano pela filosofia francesa contemporânea, sobretudo com Jean-François Lyotard. Dessa forma, ao invés de ressaltar as consequências inevitável ou sistematicamente morais do sublime kantiano, como fez, de um modo geral, o comentário mais tradicional da filosofia crítica de Kant, este ensaio tenta interpretar o sublime como sendo essencialmente uma experiência da arte, seguindo assim de perto aquela tradição francesa. Mas, ao mesmo tempo, tomando alguma distância, este texto quer fazer uma objeção ao fundamento exclusivamente burkiano da concepção de sublime de Lyotard. Em suma, quero defender que é possível privilegiar o tempo (aspecto central do sublime de Edmund Burke, segundo Lyotard) também na experiência do sublime kantiano.

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