Looks at the return of the sublime in post-modernity, and at
intimations of a 'post-Romantic' sublime in Romanticism itself. The
sublime is explored as a discourse of 'invention' -- taking the
Latin meaning of to 'come upon', 'find', 'discover' that involves
an encounter with the new, the unregulated and the surprising.
Lyotard and Zizek, among others, have reconfigured the sublime for
post-modernity by exceeding the subject-centred discourse of
Romantic aesthetics, and promoting not a sublime of the subject,
but of the unpresentable, the 'Real', the unknown, the other.
'Reinventing the Sublime' looks at 18th-century, Romantic,
modernist and post-modern 'inventions' of the sublime alongside
contemporary critical accounts of the relationship of sublimity to
subjectivity, aesthetics, politics and history, including '9/11'.
It reads Burke and Kant alongside post-modern discourses on the
sublime, and Wordsworth, De Quincey and Mary Shelley in relation to
temporality and materiality in Romanticism, and considers
'modernist' inflections of the sublime in T.S. Eliot, Virginia
Woolf and Djuna Barnes in relation to the themes of disjunction and
excess in modernity. The author examines the postmodern revisiting
of the sublime in Thomas Pynchon, D.M Thomas and Toni Morrison, and
draws on Lyotard's reading of the sublime as an aesthetic of the
avant-garde and as a singular and disruptive 'event', to argue that
the sublime in its post-modern and contemporary forms encodes an
anxious but affirmative relationship to the ironies of temporality
and history. 'Reinventing the Sublime' focuses on the endurance of
the sublime in contemporary thinking, and on the way that the
sublime can be read as a figure of the relationship of
representation to temporality itself.
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