When originally published in 1960, this was the first complete English translation since 1799 of Kant's early work on aesthetics. 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.
In The Sublime in Modern Philosophy: Aesthetics, Ethics, and Nature, Emily Brady takes a fresh look at the sublime and shows why it endures as a meaningful concept in contemporary philosophy. In a reassessment of historical approaches, the first part of the book identifies the scope and value of the sublime in eighteenth-century philosophy (with a focus on Kant), nineteenth-century philosophy and Romanticism, and early wilderness aesthetics. The second part examines the sublime's contemporary significance through its relationship to the arts; its position with respect to other aesthetic categories involving mixed or negative emotions, such as tragedy; and its place in environmental aesthetics and ethics. Far from being an outmoded concept, Brady argues that the sublime is a distinctive aesthetic category which reveals an important, if sometimes challenging, aesthetic-moral relationship with the natural world.
Come and seek your soul Hearken to its voice, let go of the strife Dwell into me for the sake of all the needs to be felt. For once in a lifetime… This book is all about pouring my heart out and placing my faith in eternity – the eternity which nobody has witnessed and neither shall – straightaway from the heart to the pen. It’s about an escapade from love to loss, from hurt to amelioration and then in between everything. It consists of short write-ups, poems and letters separated by different chapters and moods. The reader of this book will find themselves closer to an invisible world that can be only felt and felt dearly.
This book articulates and defends an interpretation of Schopenhauer's ethics as an original and credible contribution to the history of ethics. It presents Schopenhauer's ethics of compassion in direct tension with his resignationism and aims to show surprising continuities with Kant's ethics.
This deeply personal account of emotion and vulnerability draws upon anecdotes related to individual works of art to present a chronicle of how people have shown emotion before works of art in the past.
This volume presents a close reading of Kant's "Critique of Judgment" looking specifically at the complex paragraphs 23-29: "The Analytic of the Sublime."