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Topic: Observations on the Feeling of the Beautiful and Sublime

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	Concept of the Sublime in Philosophy and Aesthetic Theory
		Beauty may be accentuated by light, but either intense light or darkness (the absence of light) is sublime to the degree that it can obliterate the sight of an object.
		Both beauty and the sublime share the characteristics of a moral judgement in that they are disinterested, and universal, but unlike beauty the sublime shares the character of moral judgments as a concept of reason.
		He distinguishes between the "remarkable differences" of the Beautiful and the Sublime, noting that beauty "is connected with the form of the object", having "boundaries", while the sublime "is to be found in a formless object", represented by a "boundlessness" (§ 23).
	www.amerindianarts.us /articles/concept_of_the_sublime_as_an_aesthetic_quality.shtml (1839 words)

	Sublime (philosophy) - Wikipedia, the free encyclopedia
		Prior to the eighteenth century sublime was a rhetoric term predominately relevant to literary criticism.
		The sublime, as a theme in aesthetics, went into a decline during the Modernist period, although experiencing somewhat of a revival in the work of Jean-François Lyotard.
		The Beautiful, the Sublime, and the Picturesque in Eighteenth-Century British Aesthetic Theory.
	en.wikipedia.org /wiki/Sublime_(philosophy) (649 words)

	Observations on the Feeling of the Beautiful and Sublime - Wikipedia, the free encyclopedia
		The feeling of the terrifying sublime is sometimes accompanied with a certain dread or melancholy.
		Feelings of the splendid sublime are pervaded with beauty.
		The feeling of the Germans is an almost equal blend of both the beautiful and the splendid sublime in that they are much concerned with outward appearances.
	en.wikipedia.org /wiki/Observations_on_the_Feeling_of_the_Beautiful_and_Sublime (1208 words)

	CalendarHome.com - - Calendar Encyclopedia (Site not responding. Last check: 2007-10-09)
		In 1764, Kant wrote Observations on the Feeling of the Beautiful and Sublime and then was second to Moses Mendelssohn in a Berlin Academy prize competition with his Inquiry Concerning the Distinctness of the Principles of Natural Theology and Morality (often referred to as "the Prize Essay").
		In the chapter "Analytic of the Sublime" Kant identifies the sublime as an aesthetic quality which, like beauty, is subjective, but unlike beauty refers to an indeterminate relationship between the faculties of the imagination and of reason, and shares the character of moral judgments in the use of reason.
		The feeling of the sublime, itself comprised of two distinct modes (the mathematical sublime and the dynamical sublime), describe two subjective moments both of which concern the relationship of the faculty of the imagination to reason.
	encyclopedia.calendarhome.com /cgi-bin/encyclopedia.pl?p=Immanuel_Kant (7723 words)

	Notebook
		Kant argues that since the judgment of beauty or of taste must be universally and necessarily valid for all men, its ground must be something identical in all men.
		Beautiful art is possible only through genius, which Kant defines as the "innate mental disposition through which nature gives the rule to art" [section 46].
		As a result, the education of moral feeling is a propaedeutic for the cultivation of taste.
	www.noteaccess.com /PEOPLE/Kant.htm (1341 words)

	Immanuel Kant (1724 - 1804)
		The philosophical concept of the sublime, as described by philosopher Immanuel Kant in the Observations on the Feeling of the Beautiful and Sublime, took inspiration in part from attempts to comprehend the enormity of the Lisbon quake and tsunami.
		Since the sublime is the most necessary to the elderly, an old dandy is the most contemptible creature in nature, just as a young crank is the most offensive and intolerable.
		asserting that the sublime disinterested ethical attitude is somehow identical to, or overlaps with, the unrestrained indulgence in pleasurable violence.
	www.jahsonic.com /ImmanuelKant.html (981 words)

	Sublime
		For Immanuel Kant, the sublime represented a feeling derived from aesthetic judgment, in which we realize the limits of our human nature: that is, we realize we cannot conceive of something because it is part of the noumenal realm.
		Eighteenth-century aesthetic theory held that the sublime and the beautiful were juxtaposed.
		The sublime was awful (awe-inspiring) and terrifying while the beautiful was calm and reassuring.
	www.jahsonic.com /Sublime.html (1278 words)

	Sublime, the (Site not responding. Last check: 2007-10-09)
		Whereas beauty may be found in the small, the smooth, the light and the everyday, the Sublime is vast, irregular, obscure and superhuman.
		While largely agreeing with Burke’s definition of the aesthetic qualities of the Sublime as vastness, terror and obscurity, Kant rejected the idea that sublimity is inherent in the specific properties of objects and substituted the importance of the individual’s subjective capacity for feeling; the Sublime was thus not a universal property but an individual response.
		Artists of the 20th century have sought to reinterpret the Sublime in terms of their own age; thus to Barnett Newman it became a term for the graphic expression of the horror of the Holocaust and the tragedy of the human condition.
	www.joh.net /phd/appendices/texts/sublimegove.html (1024 words)

	the sublime - a brief history
		It was through the notion of the sublime that the taste developed for the rugged rather than the harmonious or smooth, the forceful rather than the restrained or measured, the wild rather than the orderly or symmetrical, the primitive rather than the sophisticated: in short, for the Romantic and the Gothic rather than the Neoclassical.
		Thus a taste for ruins – intimately linked with the feeling for the ravaging powers of nature and the smallness and fragility of the human, which were bound up with the appreciation of wild, rugged and Alpine landscape – also became an important part of the taste for the sublime.
		Finer feeling, which we now wish to consider, is chiefly of two kinds: the feeling of the sublime and that of the beautiful.
	homepage.mac.com /lukewhite/sub_history.htm (7862 words)

	Maegan Guerette - Photography Thesis
		I chose to work on the sublime because I am routinely motivated to work within the genre of spirituality in my art, and I was very curious to more thoroughly investigate the peripheries of the issue.
		Sublime is sometimes accompanied with a certain dread, or melancholy; in some cases merely with quiet wonder...
		Observations on the Feeling of the Beautiful and the Sublime, Parts 1 and 2.
	www.propheticpoetic.com /us/blkmaeganthesis.html (1411 words)

	bolt
		However, in elaborating this argument, I propose that the techno- sublime encounter is predicated on a very different relation to the sublime, than that developed by Immanuel Kant in his Observations on the Feeling of the Beautiful and Sublime and the Critique of Judgement.
		Thus in the Kantian sublime the emphasis on the role of the mind in apprehending the sublime, shifted attention from "nature" to the rational "perception of nature".
		Whilst in the Kantian sublime the individual is a bounded, unique, contained and controlling self who recuperates self through an encounter with the sublime event, in the techno-sublime the boundaries of self become very fluid and threaten to dissolve altogether.
	www.refractory.unimelb.edu.au /journalissues/vol1/barbarabolt.html (2571 words)

	The Romantic Sublime
		“Genealogy of the Aesthetics of the Sublime: to Addison and Shaftsbury.”
		“Burke and Chambers on the Sublime and Beautiful,” in
		Hipple, W. The Beautiful, the Sublime, and the Picturesque in Eighteenth-Century British Aesthetic Theory.
	courses.ats.rochester.edu /duro/AH267 (2103 words)

	KantAesthetics
		Observations on the Feeling of the Beautiful and Sublime (University of California, 1960), trans.
		The former is contained in the Analytic of the Beautiful, the latter in the Deduction of Pure Aesthetic Judgement and the Dialectic of Aesthetic Judgement.
		An object is deemed beautiful, in sum, when the subject is conscious of her representation of it as effecting a state of harmony and free play of imagination and understanding, and thus as itself harmonising with the universal conditions of cognition.
	www.ucl.ac.uk /~uctyseg/KantAesthetics.htm (8095 words)

	Kant's Remarks on the Observations on the Feeling of the Beautiful and Sublime
		Kant's Remarks on the Observations on the Feeling of the Beautiful and Sublime
		Observations on the Feeling of the Beautiful and Sublime is available (in German) in volume 2 of the Academy Edition and at http://www.ikp.uni-bonn.de/cgi-bin/Kant/lade.pl?/default.htm.
		Observations on the Feeling of the Beautiful and Sublime (John T. Goldthwait, Berkeley: University of California Press, 1991).
	people.whitman.edu /~frierspr/kants_bemerkungen1.htm (8447 words)

	Analytic of the Sublime
		The feeling of the sublime separates both the purposiveness of nature and the natural form from the realm of aesthetical judgment.
		The feeling of sublimity, on the other hand, is induced by the absence of form, formlessness, or by its incomprehensiveness.
		The feeling of the sublime is subjective in the sense that it is a reflective judgment judging the state of feeling that makes the subject aware of its own state.
	www.uri.edu /personal/szunjic/philos/subl.htm (11053 words)

	Informat.io on Immanuel Kant
		In the chapter "Analytic of the Beautiful" of the Critique of Judgment, Kant states that beauty is not a property of an artwork or natural phenomenon, but instead a consciousness of the state of feeling the pleasure derived from having made a judgement of taste.
		In the chapter "Analytic of the Sublime" Kant identifies the sublime as an aesthetic quality which, like beauty, is subjective, but unlike beauty shares the character of moral judgments as belonging to the faculty of reason.
		The feeling of the sublime is derived from one's estimation of natural objects which relates a boundlessness and lack of form, or the "absolutely great" (§ 23-25), and the realization that they are not equal to the expectations of one's moral ideas.
	www.informat.io /?title=immanuel-kant (6600 words)

	LBST 301, Section 85: The Difference Between the Races
		They have a strong feeling for honor, and as in quest of it they seek wild adventures hundreds of miles abroad, they are still extremely careful to avert the least injury to it when their equally harsh enemy, upon capturing them, seeks by cruel pain to extort cowardly groans from them.
		All these savages have little feeling for the beautiful in moral understanding, and the generous forgiveness of an injury, which is at once noble and beautiful, is completely unknown as a virtue among the savages, but rather is disdained as a miserable cowardice.
		Since he has no concept of the morally beautiful which can be united with this impulse, he loses even the worth of the sensuous enjoyment, and his harem is a constant source of unrest.
	faculty.fullerton.edu /cibrahim/difference.html (863 words)

	Bertonneau - The Golden Bowl
		Two types of sublimity thus confront one another: That of transgression and that of the remote noninvolvement of something that excludes one from it - from imitating it or appropriating it.
		The true sublime of moral conviction informed by direct and certain knowledge here replaces the false sublime of ignorance, in which thinking comes to a stop in the diverting contemplation of some impressive but vague object.
		That James endows their embrace with the rhetorical indicators of sublimity only strengthens the suggestion: "Everything broke up, broke down, gave way, melted and mingled"; the lovers' passion exhibits the telling quality of "violence." Fanny's later smashing of the bowl echoes the necessarily disintegrative nature of what the contemporary euphemist might call an improper relationship.
	www.anthropoetics.ucla.edu /ap0402/gbowl.htm (13675 words)

	möljiojl (Site not responding. Last check: 2007-10-09)
		On the one hand, sexual impulse is the source of all finer feeling between the sexes, and especially of the feminine beauty uniquely equipped to refine the feeling of men.
		The woman in whom beauty and dignity most perfectly unite, and who might, as such, be thought most likely to stimulate, at least in men, moral feeling for the beauty and dignity of human nature, is herself, as Kant ultimately hints, an unnatural delusion.
		Thus elaborated, Kant‘s consideration of the distinction of the sublime and the beautiful in the relations of the sexes sheds light on his general effort to resolve the question of the relation between morality and feeling.
	www2.hu-berlin.de /phil/kantkongress/13/shell.html (207 words)

	Movies.com: Marketplace
		The sublime, for Burke, is generated by passions connected to self preservation and which "turn on pain and danger.
		The sublime, which is the cause of the former, always dwells on great objects and terror; the latter on small ones and pleasing.
		Grandeur, potential threat, darkness, and ignorance for Burke excite our nerves and produce the sublime, a feeling of terror which is simultaneously delightful as long as it does not cause immediate pain.
	movies.go.com /marketplace/details?asin=0192835807&allreviews=true (1388 words)

	Race, racism and the other
		The most beautiful examples of the human species were those of the white race and it was in them that the true appreciation of beauty and the sublime were most evident.
		In his writing ‘Observations on the feeling of the beautiful and Sublime’ (1764) he presents various fanciful stereotypes of each of the European peoples associating the various nationalities with a set of national characteristics.
		After he talks at length about beauty and the sublime he mentions that the only way to separate ‘talkative’ fls is with a thrashing.
	members.tripod.com /~boblindsay/race.html (2535 words)

	Immanuel Kant
		is chiefly of two kinds: the feeling of the sublime and that of the beautiful.
		A great height is just as sublime as a great depth, except that the latter is accompanied with the sensation of shuddering, the former with one of wonder.
		Section One: Of the Distinct Objects of the Feeling of the Beautiful and Sublime, at 46.
	www.macroknow.com /books/quotes/q-kant.htm (922 words)

	Kant and the Project of Enlightenment
		The first is a ground of universal affection, the second of universal esteem; and if this feeling had the greatest perfection in some human heart, this man would of course love and prize even himself, but only so far as he is one of all those over whom his broadened and noble feeling is spread.
		Feelings about the good are supplemented by the demand that we realize the good, whatever it may be.
		Kant, Observations on the Feeling of the Beautiful and Sublime, tr.
	www.phil.upenn.edu /~cubowman/kant.html (4670 words)

	The Fair Sex
		His gendered juxtaposition of beauty and sublimity reflects the theme of his Observations on the Feeling of the Beautiful and Sublime (1764), from which the selection is taken.
		Feeling for expressive painting and for music, not so far as it manifests artistry but sensitivity – all this refines or elevates the taste of this sex, and always has some connection with moral impulses.
		Woman has a superior feeling for the beautiful, so far as it pertains to herself; but for the noble, so far as it is encountered in the male sex.
	faculty.fullerton.edu /cibrahim/fairsex.html (2092 words)

	Observations on the Feeling of the Beautiful and Sublime
		What emerges from its pages is that far from being a dry-as-dust pedant, Kant was a man of warmth, feeling, and humor, who possessed an acute sensitivity for the different shades of aesthetic experience.
		More literary than philosophical, Observations shows Kant as a man of feeling rather than the dry thinker he often seemed to readers of the three Critiques.
		Observations on the Feeling of the Beautiful and Sublime, by Immanuel Kant (original edition)
	www.ucpress.edu /books/pages/1578001.html (248 words)

	Brookhaven College Center For the Arts
		In the relatively small area of the the studio Gallery, confronting work of this size extending well above eye level in the subdued lighting of the gallery and with the work itself strongly lit, one is acutely aware of the scale of the work.
		The effect of being dwarfed by a large object is the experience of the sublime.
		Kant, Observations on the Feeling of the Beautiful and the Sublime, trans.
	home.earthlink.net /~davidrnewman/nicolett.htm (745 words)

	AFRICAN ART & EUROPE
		Beauty, as perceived in all its sublimity in European cultures, at least since the time of the Ancient Greeks, is not to be found in fl human or plastic forms.
		Never could the European encounter with the African sublime be free of the prison of slavery and economics, at the expense of African civilization and art themselves.
		The unpleasant sensations are metaphors for Picasso’s anxiety and for the very sublimity of this encounter with the fl uncanny.
	www.ethnographica.com /african_art_and_europe.htm (2254 words)

	Aesthetics - Kant
		Kant produced an early treatise on aesthetics, Observations on the Feeling of the Beautiful and Sublime (1763), and did not write on the subject again until the end of his career, in the Critique of Judgment (1790).
		Thus most of his remarks are as relevant to the beautiful or sublime in nature as in art.
		While the beautiful presents the appearance of form, the sublime may often seem formless.
	www.rowan.edu /philosop/clowney/Aesthetics/philos_artists_onart/kant.htm (743 words)

	Immanuel Kant, Evanston, IL, March 2002 (Site not responding. Last check: 2007-10-09)
		aesthetic writing Kant maintained that the judgment of beauty claims universal acceptance and is not derivable from or reducible to empirical conformity.
		As against intellectualist aesthetics he maintained that beauty is not reducible to rule or concept but results from a direct verdict of feeling.
		Kant seems to have resolved this antinomy by his view that beauty is 'purposiveness without purpose', consisting in the adaptedness of the object to human faculties of contemplation.
	www.sun.rhbnc.ac.uk /Music/Conferences/02-3-kan.html (294 words)

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