Often labelled as ‘indescribable’, the sublime is a term that has been debated for centuries amongst writers, artists, philosophers and theorists. Usually related to ideas of the great, the awe-inspiring and the overpowering, the sublime has become a complex yet crucial concept in many disciplines. Offering historical overviews and explanations, Philip Shaw looks at: the legacy of the earliest, classical theories of the sublime through the romantic to the postmodern and avant-garde sublimity the major theorists of the sublime such as Kant, Burke, Lyotard, Derrida, Lacan and Zizek, offering critical introductions to each the significance of the concept through a range of literary readings including the Old and New testaments, Homer, Milton and writing from the romantic era how the concept of the sublime has affected other art forms such as painting and film, from abstract expressionism to David Lynch’s neo-noir. This remarkably clear study of what is, in essence, a term which evades definition, is essential reading for students of literature, critical and cultural theory.

Throughout its long history, and not just as the key aesthetic category for the Romantic Movement, the sublime has created the necessary link between aesthetic and moral judgment, offering the prospect of transcending the limits of measurement, even imagination. The best of science makes genuine claims to the sublime. For in science, as in art, every day brings the entirely new, the extreme, and the unrepresentable. How does one depict negative mass, for example, or the folding of a protein that is contagious? Can one capture emergent phenomena as they emerge? Science is continually faced with describing that which is beyond. This book, through contributions from nine prominent scholars, tackles that challenge. The explorations within Beyond the Finite range from the images taken by the Hubble Telescope to David Bohm's quantum romanticism, from Kant and Burke to a "downward spiraling infinity" of the 21st century sublime, all lucid yet transcendent. Squarely positioned at the interface between science and art, this volume's chapters capture a remarkable variety of perspectives, with neuroscience, chemistry, astronomy, physics, film, painting and music discussed in relation to the sublime experience, topics surely to peak the interest of academics and students studying the sublime in various disciplines.

"This book is a critical interdisciplinary approach to the study of contemporary visual culture and image studies, exploring ideas about space and place and ultimately contributing to the debates about being human in the digital age. The upward and downward pull seem in a constant contest for humanity's attention. Both forces are powerful in the effects and affects they invoke. When tracing this iconological history, Amanda du Preez's starts in the early nineteenth century, moving into the twentieth century and then spanning the whole century up to contemporary twentieth-first century screen culture and space travels. Du Preez parses the intersecting pathways between Heaven and Earth, up and down, flying and falling through the concept of being "spaced out." The idea of being "spaced out" is applied as a metaphor to trace the visual history of sublime encounters that displace Earth, gravity, locality, belonging, home, real life and embodiment. The book will be of interest to scholars working in art history, visual culture, media and cultural studies, phenomenology, digital culture, mobility studies, and urban studies"--

This volume offers readers a unique and comprehensive overview of different theoretical and interdisciplinary perspectives on 'the sublime'.

From the world’s foremost expert on power and strategy, the New York Times bestselling daily devotional designed to help you seize your destiny. Robert Greene, the #1 New York Times bestselling author, has been the consigliere to millions for more than two decades. Now, with entries that are drawn from his five books, plus never-before-published works, The Daily Laws offers a page of refined and concise wisdom for each day of the year, in an easy-to-digest lesson that will only take a few minutes to absorb. Each day features a Daily Law as well—a prescription that readers cannot afford to ignore in the battle of life. Each month centers around a major theme: power, seduction, persuasion, strategy, human nature, toxic people, self-control, mastery, psychology, leadership, adversity, or creativity. Who doesn’t want to be more powerful? More in control? The best at what they do? The secret: Read this book every day. “Daily study,” Leo Tolstoy wrote in 1884, is “necessary for all people.” More than just an introduction for new fans, this book is a Rosetta stone for internalizing the many lessons that fill Greene’s books and will reward a lifetime of reading and rereading.

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.

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.