- We will send in 10–14 business days.
/images/books/3630857/9780521194143.jpg)
- Author: Emily Brady
- Publisher: Cambridge University Press
- ISBN-10: 0521194148
- ISBN-13: 9780521194143
- Format: 15.5 x 23.1 x 2.5 cm, hardcover
- Language: English
- SAVE -10% with code: EXTRA
Reviews
Description
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.
EXTRA 10 % discount with code: EXTRA
The promotion ends in 18d.00:53:31
The discount code is valid when purchasing from 10 €. Discounts do not stack.
- Author: Emily Brady
- Publisher: Cambridge University Press
- ISBN-10: 0521194148
- ISBN-13: 9780521194143
- Format: 15.5 x 23.1 x 2.5 cm, hardcover
- Language: English English
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.
Reviews