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>

An Unfamiliar and Positive Law: On Kant and Schiller

2013 ◽  
Vol 95 (3) ◽  
pp. 275-297 ◽  
Author(s):  
Reed Winegar
Keyword(s):  
Practical Reason ◽  
Friedrich Schiller ◽  
Moral Action ◽  
Moral Law ◽  
Positive Law ◽  
The Sublime ◽  
The Relationship

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.

Music Transcendent and Sublime

2017 ◽  
Author(s):  
Philip V. Bohlman
Keyword(s):  
Immanuel Kant ◽  
Large Scale ◽  
Human Beings ◽  
Universal History ◽  
The Enlightenment ◽  
The Sublime ◽  
History Of ◽  
The Masses ◽  
Form Of Expression

The translations in Song Loves the Masses close with Herder’s final large-scale essay on music, published in 1800 as a chapter in Kalligone, the culmination of his aesthetic work. With this late essay Herder, a polemic against his former teacher, Immanuel Kant (1724–1804), reveals the extent to which he has moved into a fully aesthetic domain in his concern for the universal history of humanity. Embodying the subjectivity of song and singing, music acquires the force of transcendence, and it therefore aspires to the Enlightenment ideals of the sublime. In Herder’s “On Music,” human beings are endowed with a degree of understanding that allows them to perceive the traits that make music unlike any other form of expression.

Morality, Nature, and Esotericism in Leo Strauss's Persecution and the Art of Writing

2002 ◽  
Vol 64 (2) ◽  
pp. 261-284 ◽  
Author(s):  
Michael S. Kochin
Keyword(s):  
Moral Law ◽  
Historical Scholarship ◽  
The Enlightenment ◽  
Moral Teaching ◽  
The Face ◽  
Historical Investigation ◽  
History Of ◽  
The Difference ◽  
The Many

Strauss's historical investigation of the use of exoteric writing in Farabi, Maimonides, Halevi, and Spinoza, is in fact his history of the philosophers' exoteric accommodations to the permanent difference in human natures, the difference between the many who require a categorical moral teaching and the few who are capable of ordering their own lives in the face of the hypothetical status of all moral commands. The men of the Enlightenment aspired to render the moral law superfluous for all by constructing a machinery of government powerful enough to compel all to live justly. Strauss critiques this aspiration by leading his reader to face the permanency of the difference between the few and the many. Strauss uses historical scholarship to force the reader to rethink the possibility of contemplation of the eternal or permanent, the possibility that the Enlightenment's historicist epigones have sought to foreclose.

scholarly journals Second Nature and the Sonic Sublime

2021 ◽  
Vol 45 (3) ◽  
pp. 178-196
Author(s):  
Miranda Stanyon
Keyword(s):  
Eighteenth Century ◽  
Contemporary Art ◽  
Human Action ◽  
Second Nature ◽  
Michel De Certeau ◽  
The Enlightenment ◽  
The Sublime ◽  
Physical Environments ◽  
The Aesthetic ◽  
Point Of Departure

Like other spaces of the Enlightenment, the sublime was what Michel de Certeau might have called “a practiced place.” Its rhetorical commonplaces, philosophical terrains, and associated physical environments were cultivated, shaped, and framed by human action and habit. But can the sublime—epiphanic, quasi-spiritual, unmasterable, extraordinary—ever really become a habit? Is it possible, even natural, to become habituated to sublimity? Taking as its point of departure the Aristotelian claim that “habit is a second nature,” this article explores the counterintuitive relationship between habit and the sublime. It focuses not on that eighteenth-century “cultivar,” the natural sublime, but on sonic sublimity, exploring on one hand overwhelming sounds, and on the other a conceptualization of sound itself as a sublime phenomenon stretching beyond audibility to fill all space. As this exploration shows, both the sublime and habit were seen as capable of creating a second nature, and prominent writers connected habit, practice, or repetition to the sublime. Equally, however, there are points of friction between the aesthetic of the sublime and philosophies of habit, especially in the idea that habit dulls or removes sensation. This is a prominent idea in Félix Ravaisson's landmark De l'habitude (1838), a text currently enjoying renewed attention, and one that apparently stems from Enlightenment attempts to explain sensation, consciousness, and freedom. Similar concerns inform the eighteenth-century sublime, yet the logic behind the sublime is at odds with the dulling of sensation. The article closes by touching on the reemergence of “second nature” in contemporary art oriented toward the sublime, and on the revisions of Enlightenment nature this involves.

Immersive spectatorship at the panorama and the aesthetics of the sublime

2018 ◽  
Author(s):  
Hélène Ibata
Keyword(s):  
The Enlightenment ◽  
The Sublime

Chapter 5 focuses on what appears to be one of the most conscious responses to the Burkean challenge: the invention of the panorama by the Irish-Scottish painter Robert Barker in the late 1780s. By literally removing the edges of representation, and immersing its viewers within an uninterrupted circular view, the panorama created a striking illusion of reality which, at least while the medium was still novel, caused unprecedented spectatorial thrills. While the medium could be linked to a tradition of illusion and immersion which predated the Enlightenment reflexion on the sublime, Barker clearly saw its relevance as a means to deny the limitations of painting. The chapter’s analyses of programmes, narratives and descriptions of panoramas by Robert Barker, Henry Aston Barker, Robert Ker Porter and Robert Burford suggest that this conception of the panorama as the most adequate pictorial vehicle of the sublime was to endure for several decades.

Il Cielo Stellato Sopra di Me e la Legge Morale in Me

2012 ◽  
Vol 20 (39) ◽  
pp. 45-54
Author(s):  
Marco Sgarbi ◽  
Keyword(s):  
Immanuel Kant ◽  
Practical Reason ◽  
Moral Law ◽  
The Sublime ◽  
The Mind

«Two things fill the mind with ever new and increasing admiration and awe, the more often and steadily reflection is occupied with them: the starry heaven above me and the moral law within me». With these famous words written on paper and inscribed in stone, Immanuel Kant concludes the Critique of Practical Reason. In this paper, I intend to show how this sentence is closely linked with: 1) the kantian doctrine on the sublime and 2) to the foundation of the logic of the irrational in the Critique of Judgement.

scholarly journals At the very edge of the abyss of subjectivity: Kant’s concept of the sublime

2020 ◽  
Vol 63 (3) ◽  
pp. 151-158
Author(s):  
Iva Draskic-Vicanovic
Keyword(s):  
Human Mind ◽  
The Enlightenment ◽  
The Sublime ◽  
Key Characteristics ◽  
The Aesthetic ◽  
Definition Of

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.

A Estética do Invisível Na Natureza

2007 ◽  
Vol 15 (29) ◽  
pp. 7-17
Author(s):  
Cristina Beckert ◽  
Keyword(s):  
Environmental Ethics ◽  
Moral Law ◽  
The Sublime ◽  
Holmes Rolston Iii ◽  
The Invisible

This paper aims at showing the interdependence between aesthetic and ethic values in appreciating nature. The Kantian concept of sublime guides us in the first part, exhibiting the primacy of ethics over aesthetics, as the sublime reveals it self to be an analogon of the moral law and the respect due to it. The second part, based on the holistic tendency in Environmental Ethics hold by Holmes Rolston III and others, analyses how the relation is inverted by means of an aesthetic of the invisible, where the sublime in nature refers to the whole and is hidden under the apparent ugliness of the parts.

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