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- W2483566788 abstract "At the centre of the Romantic sublime is the belief that man can transcend the boundaries of the phenomenal world and discover the divine power and freedom of the mind. As Schiller wrote, in the ‘presence of the sublime we feel ourselves sublime, because the sensuous instincts have no influence over the jurisdiction of reason, because it is then’ that ‘the pure spirit … acts in us as if it were not absolutely subject to any other laws than its own’.1 For Kant, too, the sublime marks the stage of consciousness when one becomes aware of ‘a faculty of the mind surpassing every standard of sense’ and pointing to man’s supersensible destination.2 The German sublime, as presented by Kant and Schiller, gives a clear warranty to the supremacy of the mind over nature. Coleridge was keenly interested in the sublime and followed closely the radical developments in German aesthetics. But although Coleridge found the German sublime preferable to Burke’s empirically-based doctrine, he was not as eager to abandon nature as Kant or Schiller, or to use a confrontation with nature as a means of bolstering the mind’s sense of its own power. In his representation of the sublime Coleridge tried to grant nature a positive role, without denying the subjective origin of the sublime or its relationship to a transcendent world, as maintained by Kant and Schiller." @default.
- W2483566788 created "2016-08-23" @default.
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- W2483566788 date "1985-01-01" @default.
- W2483566788 modified "2023-09-24" @default.
- W2483566788 title "The Typology of the Sublime in English and German Aesthetics" @default.
- W2483566788 doi "https://doi.org/10.1007/978-1-349-07135-7_8" @default.
- W2483566788 hasPublicationYear "1985" @default.
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