scholarly journals Mathematically and dynamically sublime in fine arts

2021 ◽  
Vol 64 (2) ◽  
pp. 121-131
Author(s):  
Iva Draskic-Vicanovic
Keyword(s):  
Fine Arts ◽  
Critique Of Judgment ◽  
The Sublime

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.

The Sublime and the Fine Arts

The Sublime ◽  
2015 ◽  
pp. 217-229
Author(s):  
Theodore Gracyk
Keyword(s):  
Fine Arts ◽  
The Sublime

scholarly journals Æstetiske forudsætninger for Oplysningen hos Kant

2015 ◽  
Vol 3 (2) ◽  
pp. 21
Author(s):  
Kasper Hertz Jansen
Keyword(s):  
Art Appreciation ◽  
Critique Of Judgment ◽  
Moral Law ◽  
Actual Existence ◽  
The Enlightenment ◽  
The Sublime

<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>

Romanticism as Modern Re-Enchantment: Burke, Kant, and Emerson on Religious Taste

2015 ◽  
Vol 22 (1) ◽  
pp. 1-22 ◽  
Author(s):  
Emily Dumler-Winckler
Keyword(s):  
Immanuel Kant ◽  
Moral Psychology ◽  
Religious Experience ◽  
Edmund Burke ◽  
Critique Of Judgment ◽  
Full Spectrum ◽  
The Sublime ◽  
The World ◽  
Divinity School ◽  
Moral Taste

AbstractThis essay traces the contours of a trans-Atlantic Romantic legacy of aesthetic, moral and religious taste from its inception in Edmund Burke, through its modifications by Immanuel Kant, to its culmination in Ralph Waldo Emerson’s Divinity School Address. In A Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beautiful Burke suggests that religious experience is an aspect of aesthetic and moral taste. Immanuel Kant follows suit in the Critique of Judgment, offering a distinct account of religious taste. Emerson alludes to yet significantly refines aspects of both accounts in his Divinity School Address. Whereas Kant and Burke’s variously stoic accounts depict good religious taste as an experience of alienation from God and from the world, Emerson’s religious agent cultivates a modern spirituality quite at home in the world. Adapting Burke’s re-enchanted moral psychology of taste, Emerson offers a distinctively religious, indeed Christian, form of this modern re-enchantment. Yet for Emerson, refined religious taste allows agents to recognize the full spectrum of normative demands in nature and thus to make a home of such a world.

‘A stranger to consciousness …’ – Lyotard and the Sublime1

Sublime Art ◽  
2017 ◽  
pp. 48-108
Author(s):  
Stephen Zepke
Keyword(s):  
Practical Reason ◽  
A Priori ◽  
Reflective Judgment ◽  
Aesthetic Judgment ◽  
Critique Of Judgment ◽  
Heuristic Function ◽  
The Sublime ◽  
Book Collecting ◽  
Conditions Of Possibility ◽  
Original Interpretation

Lyotard’s Lessons on the Analytic of the Sublime is a book collecting his ‘unpolished’ (1994: ix) lecture notes on sections 23–29 of Kant’s Critique of Judgment. As such, they modestly present themselves as an ‘explication de texte’ while in fact being a highly original interpretation of Kant’s concept of the sublime that focuses on and indeed exemplifies the heuristic function of reflective aesthetic judgment. For Kant this judgment is neither legislating nor provable, and so is excluded from the realms of both pure and practical reason, but as a result Kant hopes it can unite the faculties by revealing the transcendental conditions of an object’s particularity beyond its a priori conditions of possibility. Reflective judgment ‘endeavours’, Lyotard tells us, ‘to “discover” a generality or a universality in them [particular objects] which is not that of their possibility but of their existence’.

Deconstruction as Critique of Ideology: Paul de Man’s Reading of The Critique of Judgment

1970 ◽  
Vol 11 ◽  
Author(s):  
Sonia Arribas
Keyword(s):  
Transcendental Philosophy ◽  
Critique Of Judgment ◽  
Paul De Man ◽  
Separate Spheres ◽  
The Sublime ◽  
The Aesthetic ◽  
De Man ◽  
Critique Of Ideology

ResumenEn este artículo se lleva a cabo una reconstrucción de la deconstrucción que realiza Paul de Man de la célebre distinción kantiana entre la filosofía transcendental y la metafísica, tal y como ésta es expuesta en la Crítica del Juicio. En lugar de considerar que pertenecen a dos esferas separadas, en el artículo se muestra cómo, según de Man, se da una transición entre ellas que sólo se puede explicar bajo la forma de un cortocircuito tropológico o lingüístico que Kant mismo realiza, pero de manera inconsciente. También se pone de relieve que la noción kantiana de lo sublime, escondida bajo la categoría de lo esct Ttético, cumple la función ideológica de reprimir la constitución inherentemente lingüística de todo conocimiento.Palabras clave Crítica, deconstrucción, estética, ideologÍaAbstractThis article carefully reconstructs Paul de Man’s deconstruction of Kant’s distinction between transcendental philosophy and metaphysics, as the latter appears in The Critique of Judgment. Instead of posing these two as belonging to two separate spheres, the paper shows how, according to de Man, there is a transition between them that can only be accounted for in terms of a tropological or linguistic trick that Kant himself realizes, yet unaware of it. The paper also discusses that Kant’s notion of the sublime has an ideological function disguised under the category of the aesthetic, and which amounts to a denial of the inherently linguistic constitution of all knowledge.Key wordsCritique, deconstruction, aesthetics, ideology

Kant’s Account of the Sublime as Critique

Kant Yearbook ◽  
2019 ◽  
Vol 11 (1) ◽  
pp. 101-120
Author(s):  
Rachel Zuckert
Keyword(s):  
Cognitive Abilities ◽  
Mystical Experience ◽  
Human Cognition ◽  
Critique Of Judgment ◽  
Extensive Discussion ◽  
The Sublime ◽  
Cognitive Access ◽  
Artistic Representation ◽  
Human Understanding ◽  
The Aesthetic

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.

Introduction: Exiled from Oneself– Art and Other Strange Migrations …

Sublime Art ◽  
2017 ◽  
pp. 1-13
Author(s):  
Stephen Zepke
Keyword(s):  
Dominant Mode ◽  
Critique Of Judgment ◽  
Philosophical Concept ◽  
The Sublime ◽  
Material Reality ◽  
Political Conditions ◽  
Conditions Of Possibility ◽  
Is Development ◽  
The Aesthetic ◽  
Antonio Negri

The sublime is a philosophical concept for an experience or sensation that exceeds its subjective conditions, and as such is unrepresentable. The introduction will sketch its development from Edmund Burke’s A Philosophical Enquiry Into the Origin of our Ideas of the Sublime and Beautiful (1757) where it is distinguished from the beautiful and associated with terror, to Kant’s extension of it in his Critique of Judgment (1790). As Kant remains the source of all the contemporary versions of the sublime we will be concerned with, it will be important to have an understanding of his work. In particular, Kant’s affirmation of the autonomy of the aesthetic realm of sensation, and is development of the sublime as an experience that goes beyond its human conditions of possibility will be central to the book. The sublime experience itself can appear within a variety of different affects, but its dominant mode, beginning with Burke, is one of overwhelming terror and pain. Although this affect is important to its aesthetic trajectory, we shall understand the sublime in the somewhat altered sense in which Nietzsche claimed overcoming the human involved the pain of childbirth. In other words the experience of the sublime, and the emergence in Kant’s account of the transcendental realm of the Ideas that reconstitutes human subjectivity, will be rethought as a generative and aesthetic event that takes us beyond our bio-political conditions of possible experience, and expresses the vital force of the future as the transcendental dimension of our material reality. As Antonio Negri has put it, sublime art is the embodiment of an event in action, and as such ‘Art is simultaneously the creation and reproduction of the absolute singular’ (Art and Multitude (Polity press, 2011)).

Kants »Kritik der Urteilskraft« und die Philosophie der Aufklärung

2010 ◽  
Vol 55 (1) ◽  
pp. 9-23
Author(s):  
Joachim Küpper
Keyword(s):  
18Th Century ◽  
Aesthetic Theory ◽  
Critique Of Judgment ◽  
The Third ◽  
The Sublime ◽  
The Aesthetic ◽  
Aesthetic Ideas

Der Aufsatz diskutiert die Frage nach der Relation von Kants ästhetischer Theorie zur Philosophie der Aufklärung anhand zweier zentraler Komplexe der Kritik der Urteilskraft: Zur Analytik des Erhabenen wird vertreten, daß sich aus Kants Argumenten heraus die Auffassung entwickeln konnte, die Erfahrung des (spezifisch modernen) Kunstschönen sei ein Vehikel, den Menschen mit einem Bewußtsein seiner selbst als rationalem Wesen auszustatten. Zum Komplex der ›ästhetischen Ideen‹ wird argumentiert, daß sich bei Kant der Gedanke von der Erfahrung des Kunstschönen als einer Kompensation des Rationalitätsdrucks der im 18. Jahrhundert einsetzenden Moderne entwickelt. This paper seeks to examine the relation between Kant’s aesthetic theory and the philosophy of Enlightenment. My study will focus on two central aspects from the Critique of Judgment: In connection with the Analytic of the Sublime, I will argue that Kant’s discussion of the concept enabled the development of the opinion that experiencing the specifically modern artistic beauty works as a means to equip us with an awareness of ourselves as beings equipped with reason. The second aspect I want to discuss is that of the aesthetic ideas. I will show that in the Third Critique, the idea of experiencing artistic beauty functions as a compensation for the pressure of rationality that sets in together with modernity in the 18th century.

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