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Not least because our response to horror films typically involves an element of disgust that we do not observe in the sublime. Cf. Noel Carroll, The Philosophy of Horror (New York: Routledge, Chapman and Hall 1990), 240 n. 20, who rejects an identification between the attractions of the sublime and the attractions of horror for largely this reason. Carroll instead argues that the attraction of art-horror is grounded in its stimulation of curiosity (158-94).
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Immanuel Kant, The Critique of Judgement, trans. James Creed Meredith (Oxford: Oxford University Press 2007/1790), especially § 28:90-1
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on the dynamic sublime. Friedrich Schiller, 'Concerning the Sublime', in Essays, Hinderer & Dahlstrom, eds. (New York: Continuum 1993/1801), 74.
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trans. E. F. J. Payne New York: Dover, also 204-5
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The sublime and the beautiful
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from, W. J. B. Owen and Jane Worthington Smyser, eds. Oxford: Clarendon Press
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William Wordsworth, 'The Sublime and the Beautiful', from The Prose Works of William Wordsworth, W. J. B. Owen and Jane Worthington Smyser, eds. (Oxford: Clarendon Press 1974), Vol. 2, 220-2.
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Letter to Sara Hutchinson 6th August 1802
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'My Limbs were all in a tremble - I lay upon my Back to rest myself, and was beginning according to my Custom to laugh at myself for a Madman, when the sight of the Crags above me on each side, and the impetuous Clouds just over them, posting so luridly and so rapidly northward, overawed me. I lay in a state of almost prophetic Trance and Delight - and blessed God aloud, for the powers of Reason and the Will, which remaining no Danger can overpower us!' Samuel Taylor Coleridge, 'Letter to Sara Hutchinson 6th August 1802', in Collected Letters of Samuel Taylor Coleridge, Earl Leslie Griggs, ed. (Oxford: Oxford University Press 2000/1802), 841.
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Is neocortex essentially multisensory?
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How is a theory of the sublime possible?
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Usher 1769
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Usher (1769, 116) provides a good example of this sort of claim. For a review and sceptical analysis of such claims see Guy Sircello, 'How is a Theory of the Sublime Possible?' The Journal of Aesthetics and Art Criticism 51 (1993) 541-50.
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Fear versus fascination: An exploration of emotional responses to natural threats
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Ter Heijne, M.2
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Cf. Emily Brady, 'Imagination and the Aesthetic Appreciation of Nature', The Journal of Aesthetics and Art Criticism 56 (1998) 139-47.
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Somaesthetics and burke's sublime
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E.g. Richard Shusterman, 'Somaesthetics and Burke's Sublime', British Journal of Aesthetics 45 (2005) 323-41.
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Awe or envy? Herder contra kant on the sublime
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Rachel Zuckert, 'Awe or Envy? Herder contra Kant on the Sublime', Journal of Aesthetics and Art Criticism 61 (2003) 217-32.
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The physiological sublime: Burke's critique of reason
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See Shusterman for a review, as well as Vanessa Ryan, 'The Physiological Sublime: Burke's Critique of Reason', Journal of the History of Ideas 62 (2001) 265-79. Both authors rehabilitate Burke's idea that physiological explanations can be usefully applied to the sublime.
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A Treatise of Human Nature: Book 2, part III, section VIII. Note, however, that Hume's remarks are too brief to be considered a fleshed out theory of the sublime. For discussion see Justine Noel, 'Space, Time and the Sublime in Hume's Treatise', British Journal of Aesthetics 34 (1994) 218-25
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reference to, Frankfurt am Main: Deutscher Klassiker Verlag, Vol. 8
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in reference to Johann Herder, Kalligone in Werke Vol. 8. (Frankfurt am Main: Deutscher Klassiker Verlag 1998/1800), Vol. 8, 890.
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Amy Coplan and Peter Goldie, eds. Oxford: Oxford University Press
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Cf. Gregory Currie, 'There is the sense of having your body disposed in a way which resembles (perhaps minimally) the geometry of the object viewed, and the dynamical relations to other things its position suggests, as one imagines standing upright supporting a heavy load, in response to the sight of a load bearing column, or imagines swaying in the wind like a tree.' Currie derives his discussion from the notion of einfühlung advanced by Theodore Lipps and others. Gregory Currie, 'Empathy for Objects', in Empathy: Philosophical and Psychological Perspectives, Amy Coplan and Peter Goldie, eds. (Oxford: Oxford University Press 2011).
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The Shared Circuits Model (SCM): How control, mirroring, and simulation can enable imitation, deliberation, and mindreading
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It is a central feature of feed forward models of motor planning that we can model bodily states triggering efferent feelings independently of actual bodily changes, allowing one to evaluate the likely affects of that behaviour. For example I may imagine running for the bus to help me decide if it is worthwhile making the effort. E.g. Susan Hurley, 'The Shared Circuits Model (SCM): How Control, Mirroring, and Simulation Can Enable Imitation, Deliberation, and Mindreading', Behavioral and Brain Sciences 31 (2008) 1-58.
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James Strachey New York: W. W. Norton
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However, the experience may well be intensified by deliberate imaginative engagement. Compatible with the idea that one can lose oneself in contemplation of the sublime, one could imagine being the sublime object. A monumental object like the starry sky might even encourage one to imagine the entire universe as a unified substance, where one visualises this substance as somehow infused with one's sense of first-person consciousness. Cf. Romain Rolland's idea of 'oceanic feeling' discussed in Sigmund Freud, Civilization and its Discontents trans. James Strachey (New York: W. W. Norton 1962), 11-20.
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David Freedberg and Vittorio Gallese, 'Motion, Emotion and Empathy in Esthetic Experience', Trends in Cognitive Sciences 11 (2007) 197-203.
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Gallese, V.2
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Grounding conceptual knowledge in modality-specific systems
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E.g. L. W. Barsalou, W. K. Simmons, A. K. Barbey and C. D. Wilson, 'Grounding Conceptual Knowledge in Modality-Specific Systems', Trends in Cognitive Sciences 7 (2003) 84-91.
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Wilson, C.D.4
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Vittorio Gallese and George Lakoff, 'The Brain's Concepts: The Role of the Sensory-Motor System in Conceptual Knowledge', Cognitive Neuropsychology 22 (2005) 455-79.
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E.g. by imagining qualities of impassiveness, inscrutability to others, unworldliness, or indifference. Tony Smith's six foot steel cube 'Die' is a good example of this sort of sublimity. For discussion, see Paul G. Beidler, 'The Postmodern Sublime: Kant and Tony Smith's Anecdote of the Cube', Journal of Aesthetics and Art Criticism 53 (1995) 177-86.
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Infectious music: Music-listener emotional contagion
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Peter Goldie & Amy Coplan, eds. Oxford: Oxford University Press
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Cf. accounts of emotional contagion by music such as Stephen Davies, 'Infectious Music: Music-Listener Emotional Contagion', in Empathy: Philosophical and Psychological Perspectives, Peter Goldie & Amy Coplan, eds. (Oxford: Oxford University Press 2011).
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Empathy: Philosophical and Psychological Perspectives
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