000			02046nam a22003257a 4500
001			sulb-eb0015816
003			BD-SySUS
005			20160405134445.0
008			110216s2013||||enk o ||1 0|eng|d
020			_a9781139018098 (ebook)
020			_z9780521194143 (hardback)
020			_z9780521122917 (paperback)
040			_aUkCbUP _beng _erda _cUkCbUP
050	0	0	_aBH301.S7 _bB73 2013
082	0	0	_a111/.85 _223
100	1		_aBrady, Emily, _eauthor.
245	1	4	_aThe Sublime in Modern Philosophy : _bAesthetics, Ethics, and Nature / _cEmily Brady.
264		1	_aCambridge : _bCambridge University Press, _c2013.
300			_a1 online resource (240 pages) : _bdigital, PDF file(s).
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_aTitle from publisher's bibliographic system (viewed on 04 Apr 2016).
520			_aIn 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.
650		0	_aSublime, The
650		0	_aAesthetics
776	0	8	_iPrint version: _z9780521194143
856	4	0	_uhttp://dx.doi.org/10.1017/CBO9781139018098
942			_2Dewey Decimal Classification _ceBooks
999			_c37660 _d37660